This is part of the project "Pentimento" by Nia Pushkarova inspired by Lillian Hillmans book - "Pentimento" and its preface:
'Old paint on canvas, as it ages, sometimes becomes transparent. When that happens, it is possible, in some pictures, to see the original lines: a tree will show through a woman's dress, a child makes way for a dog, a large boat is no longer on an open see. That is called pentimento because the painter "repented" changed his mind. Perhaps it would be as well to say that old conception, replaced by later choice, is a way of seeing and then seeing again. That is all I mean about the people in this book (in our case -exhibition). The paint has aged and I wanted to see what was there for me once, what is there for me now.'
Where do we Come From, Where are we Now, and Where are we Going To!?
These are the questions, which I tried to answer after I had asked myself long ago when I started to prepare the exhibition. I did not know where I am aiming at the time. The project had started long ago in discussion with Gallina Yotova (photographer in Sofia) and brief conversations on the phone with Lorraine Kordecky, who got me in touch with the Gallery Wschodnia in Lodz.
Thinking about presenting female artists together in a completely new environment for all three of us was the first step towards coming closer as not only artist but presentatives of different cultures all together.
By putting up the sentence:
""I" "Love" "You" "Terribly" "Much""
Asking my little friend Eliza to do only through body language word by word and her imagination, I saw our only alternative, as a nation and not only.
The child is our contemporary, time, she is dressed at the same time with traditional costumes, which are its terms our inevitable genetic cultural memory.
The paintings are also part of the space and time stressed at the time of the exhibition, they (the paintings) complete in a generic way the words in the photographs and together they make, difficult at this stage but possible if we link the words in a sentence- positive alternative.
I would like to thank to:
Billboard print, Sofia
Hewlett Packard, Sofia
Alexander Nishkov (for helping me do the photographs at Alan Group)
"Beyond the alley on the attic"-stage, Sofia
Galeria Wschodnia and all its adherents in Lodz, Poland
Bulgarian Cultural Institute, Warsaw - personally to Boryana Puncheva
Finally yet importantly, I would like to thank my favorite models Eliza and Any, without whom I would not be able to complete as easy as they did, otherwise the difficult task of saying these words.
In addition, to all of those who helped me or by not helping, made this possible I would like to say
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