Contemplating the paintings, we experience maximum slow cadence, as if a miniature automatic film camera were attached to the artist’s brush.
 

Situations:
 

- Images of a photonic imagination "in the dark," as if "rushing" "after the shadows of clouds" in an energetic-solar space-time process that volcanically gives birth to and engulfs inspiring shapes and colors, invading parallel worlds from unknown origins.
 

- Frames in an airless, weightless space – somewhere and no-where, where we have not been, in the universe of the inner Self.
 

- Views of changing phenomena driven by quantum indeterminacy, appearing like silent lightning without thunder. A capricious, noumenal feminine figure of Eternity, where everything is possible, self-producing, ethereally subsiding in the lunar self-forgetfulness of the Observer and the Contemplator, standing behind the frames of the photonic imagination-image here and there, left and right, up and down, surging and fleeing, creating against the backdrop of a silent and invisible, incomprehensible, aurally unimaginable silence of sedimentation. A quietly occurring "Sediment Process."
 

- Pouring music of electronic trajectories, traveling electromagnetic and thermal light tides and ebbs of layers settling in waves in emotional pulsations of discretely colored Light.
 

- In this "somewhere out there," the warm sunlight imperceptibly fades into the thick fog and is reflected dully, passing elusively into the moonlight of a dawning dream in multiple perspectives and distances, bottomless in the timelessness of Eternity - where the incorporeal dwell shadows of the departed souls of irreplaceable loved ones, who have left us and our earthly world for another, unearthly, or parallel worlds, from where they accompany us protectively like Angels with invisible wings, ephemerally hovering over the smiles of the Abyss.

       In conversation with the author (painter and curator), as she showed me each of the paintings with corresponding explanations, she shared something very important about the entire cycle, about this project. It turns out that in some of them ("A Whiplash Gaze, Observers and Contemplators "; " Night Landscape, a Private Case "; "Warm Light"; "The Sun Before My Eyes, the Earth Beneath My Feet"; " The Hour of the Eternal Sun – 00:00"; "Ripe Fruit, Actionists, and Voyeurs") – she consciously separates Color from Form, and this is "a principle derived from the process of work." Or she paints the very transition from color to form and back, seeking "beauty in motion." These procedure and creative approache are an expression of a "direction" aimed at capturing the gaze of the viewer, the observer, the contemplator - as in the painting "The Pact of Dawn" - and to encourage them to unknowingly follow the twists and turns of classical perspective (present in "The Hour of the Constant Sun - 00:00") and confront them with the task of trying to distance themselves from their perception of landscape as a genre, used in this exhibition rather as a means of expression. The separation of form and color creates an opportunity to initiate an independent emotional field. This separation of the two elements emanates freedom – both in terms of color and the structural and perspective logic of the form. This opens up

space for a "preserved journey to another tangibility, synesthesia through the active participation/interactivity of the viewer... To this end, she deliberately intertwines several horizons in an impossible perspective (like fingers intertwined in palms) in order to rethink some of the norms of classical art in contemporary forms, without risking falling into ugly formlessness and repulsive deformations.
 

Summary:
 

It seems that Elitsa Baramó persistently and insistently pursues, in all her exhibitions, part of the long-term "Sediment Process" project, a noble program of the author, intended to successfully counteract with the resources of the "Aesthetics of Slow Movement" - through subtle activation and "direction" that awaken the strongly dormant contemplative abilities of the general public - to "save" it artistically and encourage it in the construction of an inner emotional and spiritual resistance against the dehumanizing and depersonalizing trends accompanying the excessive acceleration of urban life. The existential thresholds of "excess" (experiences, consumption, cares, demands) have already been crossed and are recursing into hysteria, apathy, and nihilism. This situation was already noticed at the end of the XIX-th and beginning of the XX-th centuries, first by Nietzsche with his criticism of European nihilism and his call for a "revaluation of all values," then by Ernst Jünger, Heidegger, and Jaspers, and more recently by Sloterdijk, who refutes our ascent into the "escalator of progress". Enger analyzed the phenomenon of "total mobilization," Jaspers sought an existential way out of the spiritual crisis through a return to free and non-clerical** faith, Heidegger, in „Being and Time“, in self-aware existential being, awakened to his own "project", held in freedom from illusions of otherworldliness in the ultimate "being toward death".
 

The incredible increase in the rhythms and speeds of economic, social, political, cultural, professional, family, and personal life are already causing acute "shortness of breath" and an inability to adapt in the majority of people, who are "burning out" in terms of health and mental well-being, becoming infantilized or joining the ranks of X, Y, and Z types of the new barbarism of primitives, each one of the "crowd" of "mass society" ruled by a pseudo-elite (led by cynical plutocrats). Spengler was right. "Easygoing; slow down, slow down!" – the chorus can be heard.
 

Contemporary art is now seeking new techniques to revive artistic contemplation. Elitsa offers us hers in her new exhibition. Her explorations are another version of Vasil Ivanov's cosmism. In his work, Man is presented to some extent in a humble position, like a fading shadow in the universe, while the author seeks to elevate the human spirit.
 

Contemplation is a selfless act of the soul that flows into admiration, delight, or awe. It is not work or business, but dreaminess and insight.
 

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* Zeitigung – M. Heidegger, “Being and Time”

The concept of "Unfolding" (Zeitigung) is central to the analysis of how man (Dasein) exists in time.

** clerical - ecclesiastical