The Water Tower is a facility, receptacle of water that leaps up to reach the top in an attempt to equalize and pacify all watercourses around. Water that is at the top, ready to fall down, to go up again and again to fly down …… This endless cycle has long vanished from the old building. The tower has become a metaphor, a monument of constant movement, a metaphor of everything that flows, changing its shape, overcoming obstacles, changing its image, filling itself with content, or suddenly losing it, turning into something else, shaped or shapeless.
In her artistic practice, Kalina Dimitrova always deals with change. However, not with change, as an ancient metamorphosis, as a sudden incarnation, but change as a barely noticeable, hidden and inexorable change. So far, she has mostly used the photographic image, sealing individual moments that tell of the momentary images and states that compose our life. In the exhibition, More and more new water flows into that which have already flowed into the same rivers, the artist builds a sculptural installation employing everyday and familiar images. These are different fluid receptacles – water bottles, juice bottles and beer cans. All products of modern civilization, which contain the same original substance. There, it has taken its natural level form, practically left alone, a liquid in the form of a package, but without package. Material, white and anonymous, Dimitrova’s installation is a sculpture of change and perpetual motion and reincarnation. This, however, is only a momentary state of the objects. Objects flow from the tank of the tower, fly down like large bunches of liquid falling to take the familiar shapes and image, but this only lasts for a moment before they flow again. In that moment of formation, they have that present appearance, characteristic of our instant civilization stereotype. They are understandable and recognizable by modern man, in their everyday usability. Recognition and naming brings comfort, protects us from mistakes, but does not allow us to see that the essence is always the same, free and subject only to our imagination. This pile of packing waste forms is born from the amorphous state of the white gypsum substance. Like fluid that knows no barriers, occupying the space available, the human imagination also employs unbounded categories, ready to recognize meaning and logic in the changing material world.