On the surface of the soup, the broth spots are encapsulated in ovals of amber clear sea in a swamp of muddy drab, with shades of orange-pink at sunset. The spills slide in each other, and like liquefied flesh chase each other in movement. Miniature islands stick out to the surface and a water membrane stretches around them – compact solid particles that are not dissolved in the mass. We swallow the universe in portions with some bread, to find it again. Later, just before dark, magenta descends smoothly towards cyan and darkens; the stars shine through and slowly thicken in pale egg-white turbulence. The infinite horizon surrounds us like a small dot and is sucked through us.
Sasho Stoitsov mixes bright and penetrating universes from all those condensed and clotted emotions and sediments that have accumulated recently in a period of anticipation that painfully stretched to obscurity. These outbursts released on the canvas are fixed at one moment and unfold in all past and potentially possible processes. This is the ‘laundry’ of the last period, as the author himself says. The element of chance is embodied in the conventionality of art against a rectangular background and marked in the corners by artificial elements. If we trust the terminology, we can use ‘painting’ with regard to these works, but this concept involves specific expectations that are undesirable.
Sasho Stoitsov does not trust any media, although he returns to painting and the object, they are always completely different and deeply internally motivated by the situations and emotions to which they give an image. The only media characteristic of the author in the exhibition can be recognized in the colourful three-dimensional figures made of light materials, known from his previous exhibitions. Even though fixed in the simplicity of shape, light sculptures constantly stimulate streams of positivism. They are like children who have slipped away – noisy and colourful, always changing the aura of the space they inhabit. During his exhibition in the water tower, they are a source of spontaneity, freedom and pure joy of colour, which pierce the geological layers of all theoretical constructs, doubts and fears of the ‘post-epochal’ situation.
Vera Mlechevska