Art-movie "Shared Spaces" - idea, script, performance and painting
- The team; - Working on sound; - Poster; - Logo of the movie; -video art "Noumenon"
*articles published in Bulgarian online medias , translated from Bulgarian, translated from Bulgarian Articles about Art-Film Shared Spaces/Critical Contribution/Baramo Art
Exhibition 2021 Sofia/ BG
[a]cube contemporary gallery, „Parallel Realities“/
“Passing Landscapes” projects
- Facsimile of the book of impressions; - During the opening with the gallerist Enil Enchev; - Posters
* study - Passing Landscapes project | Baramo Art - critical
study in the specialized portal Liternet, UBA bulletin, translated from Bulgarian
* Solo Exhibition | Elitsa Baramó | A Cube Contemporary (a-cube.gallery)
* articles published in the Bulgarian online media frognews.bg ,
artdialog-bg.com/not translated from Bulgarian/
* in You Tube - Exhibition by Elitsa Baramó in [a] cube contemporary gallery - YouTube
Baramó is the artist pseudonym of Elitsa Baramova. Her name is related with the abstract painting, videoart, happening, drawing, figurative painting, graphic design and also with the innovative contemporary jewelry.
Elitsa Baramova-Baramó: "If I slip into a drawer, something's going to stick out"
talks infront of lifestyle DIVA magazine about her artist development; an article from Vida Pironkova
in a Bulgarian lifestyle monthly Diva magazine , printed issue of may 2021 and online media divamagazine.bg, translated from Bulgarian
When my computer broke down, I opened it with a screwdriver and was fascinated by the landscape inside it. I was fascinated from the technical esthetics and computer boards and I started making jewellery from them. Conceptual series. At the beginning, people in Bulgaria could not understand that these were pieces of jewellery. They were fascinated by them but didn't buy them. I decided to educate an audience. I went to Paris to try to find place for my jewel objects there. The most absurd thing was that Paris at that time was no supply and demand for avand-garde jewellery. Later, I went to the Art Conpendium Forum in Vienna - it was the centre of the avand-garde quest in this direction. This jewellery is my know-how. And those from sea urchin are very labour-intensive - they have nine layers of resin which need to dry for 12 hours. Gradually, the audience started to understand this type of art. The contemporary jewellery making has new level and has a tendency to object sculpture art. Its utilitarian function is secondary.
CHILDHOOD IN CUBA
We used to live in Cuba and my first sensory memories are from there - a lot of sunshine, Havana, the Flores neighbourhood, freedom, the colours of the delight of life.. We lived in a hotel for four years. Whenever I saw an African - American, I was attracted to him. This used to drive my mum crazy. If I got out of her sight, I was ready to go on a Blackman's lap, and such a love started....like 1000 miracles. I remember some aromas. Of freedom. Of that what is going to happen. There was always some adventure to come. The sun always creates some attitude. Years later, when I worked in Germany, I realized that the people's national psychology is determined geophysically in some way. In Cuba, when we were walking along the seaside Promenada Boulevard, the waves crashed nearby and sprinkeld us with small drops. I remember how the whole family used to have ice - cream for dinner, my father used to buy a whole bucket, we just sat and ate with spoons to our heart's content.
DRAWING AS A LIFESTYLE
I have been drawing my whole life. I graduated the National High School of Applied Arts "St. Luke", Textile class. Then I applied to the Arts Academy. I was preparing for the “Ecole des Beaux Arts” in Paris when my father passed away and I quit. His death crushed me.
I applied for “Spatial design“ at the Academy of Arts (Sofia) because I have spacial way of thinking and I love big scale projects. I have have this in my blood from my father who used to design houses, bridges and other marvellous things. I wasn't accepted in the Academy the first year I applied. I started inviting models to my studio. My colleagues also came and we drew together. I taught myself and worked. I had decided not to apply anymore, but one of my classmates coaxed me into applying for the Illustration Class. This specialty is a huge mental overload, people used to apply for it for more than ten years. Book, Graphic Design and Printing Techniques - a totally opposite direction. It seemed intriguing to me. I was accepted and started learning about it. I continued with my painting too. The Academy course didn't break my personal feeling. It just assessed my different way of thinking.
GERMANY ON THE WAY
I worked in Germany for six years after the Academy. At first, I went there to an Academic Symposium. I submitted the documents, the competition was very tight. You had to bring your previous paintings, then you were given an art studio to create more works which you exhibit at the end of event. This was the beginning of my six - year travelling and exhibiting in Germany. I earned money in Bulagria creating graphic design and publicity and spent it according to the other standard. I sold pictures there, I used to do 2 - 3 exhibitions a year. My last exhibition in Germany was about Cuba and I prepared it on the place itself. In 2006, it was as if I returned physically to my better self. It seemed as I had left a big part of myself there and I took it back. Returning to Cuba, I felt something for the first time, its meaning became clearer to me later on - it happens with animals - it is called synesthesia - crossover in the senses; when you smell something, you can taste it in your mouth. I felt this in Cuba, whose nature is abundant, even sexy and somehow penetrates you.
HOW THE IDEAS GROWS
I always draw my paintings to have more interpretations. I remain open-minded to all people who are curious and develop. I am such a person who cannot be confined in a drawer - it will always something stick out - a leg, an arm or a braid. The fluxus art movement inspires me, namely the tendency and idea of uniting the arts for a higher purpose - the harmony. In most cases, my art focus the human. Even when there is no human presence in my compositions, you could feel it. It is totally intentional. I have a whole collection of works - an analogy with the Shroud from Torino and the absent presence of God and the human imprint. ( editor's note - Fluxus is among the most significant art movements in the 60s of 20th century. The American George Machunas is considered to be its founder. Fluxus is above all an art of behaviour. The accent is on the artists' gestures, not on the consequences from them.)
DRAWING THE MOVEMENT
I am also interested in movement in the Platonic sense. Platon has a concept about the moving beauty which is still actual for my basis. I haven't found anything better to correspond to my naturel. As an author, I compress two or more phases of the movement. It is nothing new, but that's my vision for harmony. Self - knowledge is a tool for an artist, to know yourself and work on your ego. In a lot of cases, you find things that you don't like to be the way they are. You would like to smooth your image as perfect and wonderful, but it doesn't work like that.
Baramó painting - catalog 2021
"QUANTUM REFLECTION OF TIME" IN PAINTINGS
Publication in the weekly newspaper "Bulgarian Army", issue 18 of May 13, 2022, page 18 (www.armymedia.bg)
Both an exhibition and a catalog can fully present the artist's work. The one of the artist Elitsa Baramova-Baramo presents her works in the last 6 years and collects her author's projects "The Architect" and "Passing and Remaining Landscapes". The texts in synthesis with the paintings completely close the circle of an artist with innovative ideas and means of expression. In the Architect project, this is a stone sculpture under construction - a symbol of human growth - with the means of painting. In "Passing and Remaining Landscapes" the emphasis is on the subjective nature of memory and "The Aesthetics of Slow Motion, in which Most Things Happen."
My art catalog from 2021 include with paintings from recent 6 years. It collects my author's projects "The Architect" and "Passing and Remaining Landscapes" - paintings, my conceptual texts, excerpts from critical studies of projects and biographical references. The edition is in English, with a booklet in Bulgarian.
It can be found in the bookstore "Helikon", gallery "Konus", NB "St. St. Cyril and Methodius" and in the gallery [a] cube contemporary.
May the designer (me) and the Muses be alive and well
The catalog is realized thanks to the gallery [a] cube contemporary competition forum for abstract art and the awarding of my work in last year's edition (2001), as well as the support of NFC, BCI-Budapest and friends.
Thanks to everyone (they know)
International Symposium at Pappenheim Castle, Hungary
11-th edition, June 2021
Pappenheim Castle - aquarelle studies; created on the event
<<- Exhibition in Ari Kupsus gallery, Budapest;
->> During the Symposium in the Castle
Sigh trapped II. - compositions on ecological themes, Parallel Realities project; created on the event
<< Pappenheim Castle I.- acrylic, canvas; part of the collection of contemporary art of the municipality of Iszkaszentgyörgy
>> Pappenheim Castle II.- acrylic, canvas; part of the collection of Mr. Kupsus
- working process, pleinair
1. Publications for a solo exhibition in the gallery [a] cube contemporary 2021
- /in process of translation/ in the online media "Frog News", a forum for journalism, text by Ivan Vladimirov-NAV Project "Parallel Realities" - an exhibition by Elitsa Baramó in the gallery cube contemporary (frognews.bg)
- on the FB page of the [a] cube gallery EXHIBITION OF PAINTING - ELITSA BARAMÓ Facebook
- on You Tube - a short film about the Exhibition by Elitsa Baramó in [a] cube contemporary gallery
- /in process of translation/ in the online magazine for culture Art Dialogue - issue 1 for 2021 - texts by Georgi Malinov and Ivan Vladimirov-NAV: Reflections on the exhibitions of Baramó "Parallel Realities" and "Passing and Remaining Landscapes" - three points of view - Art Dialogue ( artdialog-bg.com)
2. Publications of critical materials in online and print media (published too on baramo.art with English translation)
- for exhibitions: Baramo Art study - Passing Landscapes project | Baramo Art
for art film: Articles about Art-Film Shared Spaces / Critical Contribution / Baramo Art
3. Publications of the art film "Shared Spaces" in Bulgarian and English on my youtube channel https://youtu.be/tbeqUmX6Gek
4. Publication in a specialized portal Liternet of the text of Prof. DFN Krassimir Delchev (Sofia University "St. Kl. Ohridski"), The coveted invisible. Project "Passing and remaining landscapes" (liternet.bg)
Other publications in 2020 and 2021
5. Publications for a solo exhibition: Bulgarian Cultural Institute - Budapest/ Hungary ("Passing and remaining landscapes", phase 1 - painting, drawing and art film)
- short film for the exhibition https://youtu.be/BSrz15DK82A /
- publication of critical material by Diana Draganova Stier, art critic at the National Gallery of Fine Arts in Sofia, UBA bulletin UBA:
Passing and remaining landscapes (sbh.bg)
6. Publications on the websites of the startup company HINSA (international charity project for artists support by patrons and colleagues), corporate design and overall design concept of products - limited gift series and building an author's image of selected artists https://hinsa.eu/ https://hinsa.art/shop/ https://hinsa.art/blog/
Еx h i b i t i o n s in 2022 and 2023 - part of my long-term project ‘Sediment Process’/publications/
Guardian Angels exhibition in [a]cube contemporary gallery, 2022, Sofia, 4th phase of the project ‘Sediment Process’
with the gallerist Enchev and friends of contemporary art
Dr. Ani Venkova [art critic] and the artist
Interaction "The Red Room"