PAINTER OF THE UNNAMABLE
With regard to the artist Elitsa Baramó, I can only share my impression that she is frequently and consciously moved by abstract forms and phenomena not only outside the human world, but inside it as well. This suggests that everything we touch and rephrase is somehow a human world. Even when we are standing on top of the Musala peak, contemplating the sky above, we may see an artificial satellite, or the blinking lights of an airplane, which ruthlessly deprives us of the loneliness of abstract man, be he a person, an individual or a persona.
In order to gain proper insight into the messages of Elitsa’s exhibition, two approaches may be applied: either let the senses react to the contact (visual, olfactory, intuitive-paranormal) with the paintings, or make sure to be well-versed on the subject with appropriate prior read. Many thinkers, philosophers, spiritual leaders have focused in their writings and comments on Monad and Polyad, among them Giordano Bruno, Goethe, Leibniz, Lomonosov, Beinsa Duno („...animals and plants existing on earth present man, decomposed into components. All these parts assemble to live in one body, together with a monad, which guides them. ... This means that there is a central monad and many other monads, though not of same level of development. They are creatures at diverse stages of progress...”), Robert Monroe, Richard Bach...
As one would expect, equipped with the ideas of the above mentioned thinkers, we might attain spiritual communion with the image world of the artist Baramó. However, art is art because it influences our senses not only with its ideas but in other ways as well. A living example is Master Leonardo’s mural painting The Last Supper, the symbolism of which has not been fully deciphered up to now and which continues to attract inquisitive minds striving for new discoveries.