<ÂÂèèññÿÿùù êêààëëêêààíí,, 2000, àêðèë, ïëàòíî, 73õ60 ñì.HHaannggiinngg TTuurrbboott,, 2000, acrylic on canvas, 73õ60 cm

ÐÐèèññóóââààëë ññúúìì ìíîãî îò íàòóðà. Òîëêîâà ìíîãî, ÷å â åäèíìîìåíò ìè îìðúçíà. Óñïîðåäíî ñ òîâà èíòåðåñúò ìèêúì ðåàëíîñòòà íå ñïèðàøå. Âèíàãè ñúì ñè çàäàâàëâúïðîñà çàùî òîâà, êîåòî ãëåäàì (è âèæäàì, íàäÿâàì ñå)ìè å õàðåñâàëî è êàêâà å ëîãèêàòà íà òàçè õàðìîíèÿ,êîÿòî íè çàîáèêàëÿ. Ïîíåæå ñúì ñè ëþáîïèòåí ïîïðèðîäà è îùå îò ìàëúê ðàçãëîáÿâàõ èãðà÷êèòå, çà äàðàçáåðà êàê ñà íàïðàâåíè, òàêà è ìíîãî çàäúëáî÷åíî èõëàäíîêðúâíî èçó÷àâàõ ÷èñòî âèçóàëíî ëîãèêàòà íàïîñòðîåíèåòî íà íåùàòà, êîèòî íè çàîáèêàëÿò. Âñåêèèìà íÿêàêâà èñòèíà è ñâîÿ èíòåðïðåòàöèÿ çà òàçèëîãèêà è àç ÿ îòêðèõ çà ñåáå ñè. Ïðèìåðúò å ìíîãîïðîñò. Àêî èìàìå åäíà ÿáúëêà â ðúêàòà ñè, òîâà åàáñîëþòíà ñêóêà, íàé-ìíîãî äà ÿ èçÿäåì. Íî àêî âñúùàòà ðúêà âçåìåì äâå ÿáúëêè, çàïî÷âàò äà âàëÿòâúïðîñè – çà êîãî å âòîðàòà ÿáúëêà, êîÿ å ïî-ãîëÿìà, êîÿå ïî-âêóñíà è ò. í. Èñêàì äà êàæà, ÷å åäèí ïðåäìåò ñàìçà ñåáå ñè íå ïðåäñòàâëÿâà íèòî õóáàâî, íèòî ëîøî.Çíà÷è êðàñîòàòà, åñòåòèêàòà è èíòåðåñíîòî ñåñúñòîÿò âúâ âçàèìîâðúçêàòà ìåæäó îáåêòèòå, à íå â êîíêðåòíèÿ îáåêò.

Ìíîãî ÷åñòî êàçâàò çà íÿêîÿ æåíà, ÷å èìà ñòðàõîòíîêðàñèâè î÷è. Àç ñìÿòàì, ÷å âúîáùå íÿìà íèêàêâèêðàñèâè î÷è, à ïî-ñêîðî êðàñèâî ñúîòíîøåíèå è ðàçãîâîðìåæäó íåéíèòå î÷è, íåéíèòå óñòíè, íåéíèòå ñòðàíè èò. í. Ñàìèòå é î÷è, îòêúñíàòè îò êîíòåêñòà íàëèöåòî é, íàé-ìíîãî äà ñâúðøàò ðàáîòà êàòîèëþñòðàöèÿ â íÿêîé ó÷åáíèê ïî àíàòîìèÿ. Îïîçíàâàéêèè îâëàäÿâàéêè òàçè ëîãèêà íà âèäèìèÿ ñâÿò, êîéòî íèçàîáèêàëÿ, ñè êàçàõ: “ Íå ìîæå ëè äà çàïàçÿ ñúùàòà ëîãèêàè õàðìîíèÿ, íî äà çàìåñòÿ îáåêòèòå ñ èçìèñëåíè âìîåòî ïîäñúçíàíèå?”. Ñàìèòå îáåêòè, êîèòî ðèñóâàì,íàé-äîáðå èçðàçÿâàò óñåùàíåòî ìè çà ôîðìà, ñúñòîÿíèåè íàñòðîåíèå. À “ðàçêàçâàì èñòîðèè”, ñú÷åòàâàéêè âíÿêàêâà ñèòóàöèÿ òåçè, èçìèñëåíè îò ìåí îáåêòè. Òîâàå ñ íÿêîëêî äóìè êëþ÷úò çà ðàç÷èòàíå íà ïîñëàíèåòî,êîåòî å çàëîæåíî â ìîèòå êàðòèíè. Àêî ÷îâåê ñè çàäàäåâúïðîñà êàêâî çíà÷è òîâà èëè îíîâà â ìîèòå êàðòèíè,èëè ïîòúðñè àíàëîã â ðåàëíîñòòà, ñèãóðíî ùå èçïàäíå âñúñòîÿíèå íà îáúðêâàíå. Áèõ ïîñúâåòâàë òàêà:ïðåäñòàâåòå ñè, ÷å ñâåòúò îêîëî íàñ èçãëåæäà òî÷íîïî òîçè íà÷èí, êàêòî èçãëåæäà â ìîèòå êàðòèíè.Ìèñëåòå ñè ãî ïîíå ïðåç êðàòêîòî âðåìå äîêàòî ãèãëåäàòå – òîâà å àáñîëþòíî äîñòàòú÷íî.

Åäìîíä Äåìèðäæèÿí26. 07. 2006 ã.

II hhaavvee ddoonnee aa lloott ooff ppaaiinnttiinngg from nature. So much that at some point I got fed up. But at the same time I lost noneof my interest in reality. I have always asked myself why I liked what I was looking at (and saw, I hope), and whatwas the logic of the harmony around me. I am a curiousperson by nature and just as I had taken apart all sorts oftoys when I was a child to find out what they were madeof, I began to study the logic of how things about us wereconstructed with industry and a cold mind, and from apurely visual point of view. Everybody has their own truthand interpretation of this logic, and I found mine. The example is really very simple. It is totally boring to bejust holding an apple in your hand. The most you can doabout it is eat it. But if you took two apples in that samehand a whole lot of questions would follow. Who is thesecond apple for, which of the two is larger, which istastier and so on. I mean, an object is neither good norbad per se. An object is as beautiful, aestheticallyappealing and interesting as its relationships with otherobjects, not on its own.

It is quite common to hear how beautiful the eyes of somewoman were. I think that there is no such thing asbeautiful eyes, but rather beautiful relationships andcommunication of her eyes with her lips, cheeks etc. The eyes themselves, taken out of the context of the facemight as well be used as an illustration in an anatomytextbook. Learning to know and master the logic of theworld we see around us I told myself:”Couldn’t I preservethe logic and harmony while replacing the objects withothers I had imagined sub-consciously?” The objects I dopaint express best my feeling of shape, my disposition andmood. And I ”tell stories” by combining all kinds ofsituations with objects I myself make up. That in a fewwords is the key to reading the messages in my paintings.Wondering what one thing or another in my paintingsmeant, or looking for analogs in reality would probably justlead to confusion. My advice is this � try to imagine thatthe world around us looked exactly like my paintings. And continue doing so for at least as long as the brief timewhile you are looking at the paintings � that would bequite sufficient.

Edmond Demirdjian26 July 2006

ÍÍààòòþþððììîîððòò,, íà÷àëîòî íà 1980-òå, âúãëåí, õàðòèÿ, 70õ100 ñì.SSttiillll LLiiffee,, the early 1980s, charcoal on paper, 70õ100 cm

ÊÊîîííññòòððóóêêööèèÿÿ,, 1980-òå, òåìïåðà, ïëàòíî, 120õ100 ñì.CCoonnssttrruuccttiioonn,, during the 1980s, tempera on canvas, 120õ100 cm

ÀÀííòòèèëëîîããèèêêàà,, 1970-òå, ìàñëåíè áîè, ïëàòíî, 70õ60 ñì.AAnnttii--llooggiicc,, during the 1970s, oil on canvas, 70õ60 cm

ÀÀããððååññèèÿÿ,, 1970-òå, íà 20-òè âåê, ìàñëåíè áîè, ïëàòíî, 80õ60 ñì.AAggggrreessssiioonn,, during the 1970s, oil on canvas, 80õ60 cm

××îîââååêêúúòò èè òòååõõííèèêêààòòàà,, 1970-òå, ìàñëåíè áîè, ïëàòíî, 100õ120 ñì.MMaann aanndd TTeecchhnnoollooggyy,, during the 1970s, oil on canvas, 100õ120 cm

ÎÎòòááååëëÿÿççààëë âå÷å ó÷àñòèå â íÿêîëêî îá ùîíàöèîíàëíè è â åäíàìåæäóíàðîäíà èçëîæáà, Äåìèðäæèÿí ñàìî çà åäèí ïåðèîä îòäâå ãîäèíè å óñïÿë äà ðàç êðèå òâîð÷åñêîòî ñè ëèöå ñïðîèçâåäå íèÿ, êîèòî ðåñïåêòèðàò íå ñàìî ñúñ ñâîåòîêîëè÷åñòâî, íî è ñ õóäîæåñòâå íèòå êà÷åñòâà, êîèòîáåçñïîðíî ïðèòå æàâàò. Èíòåðåñíîòî â òîçè ñëó÷àé å èòîâà, ÷å ìëàäèÿò æèâîïèñåö ðàçâèâà ñâîÿòà ïðîáëåìàòèêà ñåäíà âúòðåøíî óñòîé÷èâà ëîãèêà, áåç äà âëèçà â êîí ôëèêò ñúñçàëîæåíàòà â ñàìîòî ìó òâîð ÷åñòâî èäåéíî-åñòåòè÷åñêàïðîãðàìà, âúïðåêè ÷å åìîöèîíàëíàòà ïðèðîäà íà òîçèòîëêîâà æèçíåí è íåïîñðåäñòâåí õóäîæíèê íîñè â ñåáå ñèïîòåíöèàëíè âúçìîæíîñòè çà ïîÿâàòà íà òàêúâ êîí ôëèêò.

Åäìîíä Äåìèðäæèÿí ñå ïðèñúåäèíÿâà êúì åäíà íåìàëêà ãðóïàñúâðåìåííè õóäîæíèöè, â òîâà ÷èñëî è áúëãàðñêè, êîèòî ñåñòðåìÿò äà îòðàçÿò â òâîð÷åñò âîòî ñè êîëèçèèòå, êîèòîñúçäàâà â åìîöèîíàëíî-ïñèõîëîãè÷åñêè è ñîöèà ëåí ïëàíîáëèêúò íà íîâàòà óðáàíèñ òè÷íà è ìåõàíèçèðàíàäåéñòâèòåëíîñò, ñðåä êîÿòî æèâååì âñè÷êè íèå. Íî çàðàçëèêà îò äðóãè àâòîðè, êîèòî ñå ìú ÷àò äà ðàçêðèÿò âæèâîïèñíàòà êîìïî çèöèÿ ñòóäåíàòà è ñòðîãà àðõèòåêòî -íèêà íà òîâà ñúâðåìåííî îáêðúæåíèå, òîé òúðñè ìíîãî÷åñòî áðóòàëíè ïî ñâîÿ î÷åâèäåí êîíòðàñò ñúïîñòàâêèìåæäó íåéíèÿ ãåîìåòðèçèðàí îáëèê è òðàäè öèîííîòîèíòèìíî îáêðúæåíèå íà ÷î âåêà. Ñúñåäñòâîòî ìåæäó åäèíáàëòîí, çàêà÷àëêà è ïðîâèñíàë íà íåÿ âåëîñè ïåä ìíîãî ÿñíîïîêàçâà òàçè î÷åâèä íîñò. “Æåíà è ìîòîð”, “Íàòþðìîðò ñêîëåëî, êèòàðà è ñòåíåí ÷àñîâíèê”, “Ìåõàíèçèðàíèÿò ÷îâåê”ñà òâîðáè, êî èòî êðàñíîðå÷èâî èçòúêâàò öåëèòå íà òàçèïðîãðàìà. Êàêâî ïðåäñòàâëÿâà âñè÷êî òîâà êàòî æèâîïèñíî-ïëàñòè÷åí åêâèâàëåíò â ñàìàòà êîìïîçèöèÿ? Àâòîðúòèçãðàæäà êîìïîíåíòèòå íà ñâîÿ îáðàçåí ñâÿò, ñúäúðæàùíàðî÷íî ïîäáðàíè ïî ñâîÿòà íåñúâìåñòèìîñò ïðåä ìåòè îòñúâðåìåííîòî íàøå îáêðúæåíèå, ïî ìíîãî îñîáåí íà÷èí.Âìåñòî äà ãè ðàçãðàíè÷è êàòî ñòðóêòóðà, çà äà èçòúêíåòÿõíàòà íåñúâìåñòèìîñò, òîé ñúó ìÿâà äà ãè îáåäèíè –åëåìåíòèòå íà òðàäèöèîííèÿ, äà ãî íàðå÷åì èíòèìåí áèò íà÷îâåêà, ñà òðàíñôîðìèðàíè ÷ðåç åäèí ïðèíöèï íà ñèíòåòè÷íîîïðîñòÿ âàíå íà ôîðìèòå, êîéòî ïî÷òè â ñúùàòà ñòåïåí ñåïðèëàãà è âúðõó åëåìåíòèòå íà ìåõàíèçèðàíàòàäåéñòâèòåëíîñò.

Îò òîâà åëåìåíòèòå ãóáÿò ñâîÿòà õëàä íà ñòðîãîñò íàãåîìåòðè÷íè ôîðìè, ïðåâðúùàéêè ñå åäâà ëè íå â äåòñêàèãðà÷êà. Õàîñúò îò çúá÷àòè êîëåëà, áóðìè, âåðèãè è áîëòîâå,èçîáðàçåíè â ÿðêî èíòåíçèâíè öâåòîâå, êàêòî ïðà âè òîâà âïîäîáíè ñëó÷àè äåòåòî-õóäîæíèê, ëèøàâà îòçàñòðàøèòåëíîñò òàçè ìåõàíèçèðàíà äåéñòâèòåëíîñò. È àêî òðÿáâà âúç îñíîâà íà òîâà äà ñè ïðåäñòàâèì êàêâà eïîçèöèÿòà íà àâ òîðà, îöåíêàòà ìó íà òâîðåö, íà ïðúâ ïîãëåäòÿ ùå ñå îêàæå ëèøåíà îò îñò ðîòà è êàòåãîðè÷íà

ÏÏððîîååêêòòèè ççàà êêààððòòèèííèè, 1970-òå14õ12 ñì., òåìïåðà, ìîëèâ, êàðòîí; 12õ10 ñì., òåìïåðà, êàðòîí

PPrroojjeeccttss ffoorr PPaaiinnttiinnggss, during the 1970s14õ12 cm, tempera, pencil on cardboard;12õ10 cm, tempera on cardboard

ÀÀââòòîîïïîîððòòððååòò,, 1976ìàñëåíè áîè íà äúðâî, 55õ46 ñì.SSeellff PPoorrttrraaiitt,, 1976oil on wood, 55õ46 cm

îïðåäåëåíîñò. ×î âåêúò è ÷îâåøêîòî ñúùåñòâóâàò çà åäíîñ òîâà íîâî îáêðúæåíèå, êîåòî îðãàíè÷åñêè ñå âïëèòà âïðèâè÷íîòî åæåäíåâèå. Íàèñòèíà â ïîäõîäà íà ìëàäèÿæèâîïèñåö îòñúñòâàò ìîðàëèçàòîðñêè àêöåíòè, òîé íå ñåíàåìà äà áúäå íåèí ñúäíèê, íî òîâà ñúâñåì íå ëèøàâà èäåéíî-õóäîæåñòâåíàòà ìó ïðî ãðàìà îò îïðåäåëåíîñò.

Êàê ìîæåì ïðè òîâà ïîëîæåíèå íà íå ùàòà äà ÿ îïðåäåëèì?

Åäìîíä Äåìèðäæèÿí å ïðåäñòàâèòåë íà åäíî ïîêîëåíèå,êîåòî íå ãëåäà îòñòðà íè íà íîâîòî, äîøëî è â íàøèÿñúâðå ìåíåí áúëãàðñêè áèò.

Òîâà ïîêîëåíèå íå å ñàíòèìåíòàëíî. È êîãàòî îöåíÿâàñúâðåìåííîñòòà æèâîïèñåöúò Åäìîíä Äåìèðäæèÿíîòáå ëÿçâà âÿðíî åäíà íåéíà õàðàêòåðíà îñîáåíîñò ïðèäíåøíèòå óñëîâèÿ – òàçè ñúâðåìåííîñò íÿìà âñå îùå ñâîéóñòàíîâåí îáëèê, òÿ íå å îòëåæàëà, íå ñå å ïðåâúðíàëà â ñòèëíà æèâîò.  íåÿ åêëåêòè÷íî ñúæèòåëñòâàò åëåìåí òè è íàñòàðîòî, è íà íîâîòî. Ïîðàäè òîâà òÿ èìà îáëèê íà õàîñ, íà áåçðåäíî ñòðóïâàíå íà ïðåäìåòè, âåùè è õîðà. Âêîìïîçèöèÿòà íà æèâîïèñíàòà êàð òèíà åêâèâàëåíò íà òîçèõàîñ å ñâîåîá ðàçíî äåêîìïîçèðàùèÿò ïðèíöèï âàð àíæèìåíòà íà òîâà íåâúîáðàçèìî ñòúëïîòâîðåíèå, êîåòîîáà÷å æèâåå â íåÿ ñâîé ñîáñòâåí îðãàíè÷åí æèâîò. Òî çèæèâîò å àêòèâåí, èçïúëíåí ñ íåïðå êúñíàòî äèíàìè÷íîäâèæåíèå. È ÷î âåêúò, è ïðåäìåòíèÿò ñâÿò, êîéòî ãîîáêðúæàâà, ïðèñúñòâàò â êàðòèíàòà íå òîëêîâà êàòîïåðñîíàëíè ïðåäñòà âèòåëè íà íàøàòà ñúâðåìåííîñò, à ïî-ñêîðî êàòî çíàöè, îëèöåòâîðÿâàùè öÿ ëîòî òîâàõàîòè÷íî, èçïúëíåíî äîêðàé ñ äèíàìèêà äâèæåíèå. Åòî çàùîêîí òóðúò, èçïúëíåí äî êðàåí ïðåäåë ñ åíåðãèÿ, íå òîëêîâàîãðàæäà ôîðìèòå, êîëêîòî îáîçíà÷àâà òÿõíîòî äâèæåíèå.Òîé å íàòîâàðåí ñ ôóíêöèèòå íà ñèëîâà ëèíèÿ, îòáåëÿçâàùàïîñîêàòà è åíåðãèé íèÿ çàðÿä íà òîâà õàîòè÷íî äâèæåíèå.Áèõìå ëè ìîãëè äà îãðàíè÷èì ñàìî ñ òîâà ïðîáëåìàòèêàòà íàìëàäèÿ æèâî ïèñåö, âúïðåêè ÷å òîé òåïúðâà ùå ïðî äúëæè äàðàçãðúùà íåéíèòå ïàðàìåòðè êàêòî â øèðèíà, òàêà è âäúëáî÷èíà? Íÿêîè îò ïîñëåäíèòå ïî âðåìå èçïúëíåíèòâîðáè, ó÷àñòâàùè â ïúðâàòà ìó èçëîæáà, íè óáåæäàâàò, ÷åòîâà ñúâñåì íå å òàêà. Îïèòúò, èçâëå÷åí ïðè ðàáîòàòàâúðõó ïðîãðàìíèòå ìó êàòî êîíöåïöèÿ òâîðáè, ñå ïðîåêòèðàïî ìíîãî îñîáåí íà÷èí â íÿêîëêî ïåé çàæà è íàòþðìîðòà, âêîèòî îòñúñòâà êîíòðàñòíàòà ñúïîñòàâêà ìåæäó ñòà ðî èíîâî, ìåæäó òðàäèöèîííî è ñúâ ðåìåííî. Åíåðãè÷íèÿòåêñïðåñèâåí åçèê, ñ êîéòî ñà èçïúëíåíè òåçè òâîðáè, èç öÿëîãè ïîñòàâÿ â êîíòåêñòà íà æèâîïèñíî-ïëàñòè÷íèòåïðîáëåìè, êîèòî õàðàêòåðèçèðàò è äðóãèòå ìó ïðîèçâå -äåíèÿ. Òå ñà òÿõíî ïðîäúëæåíèå, íî è òÿõíî ñâîåîáðàçíîîòðèöàíèå. Îêàç âà ñå, ÷å äèíàìèêàòà, åêñïðåñèÿòà, íà ïðåãíàòèÿò ðèòúì íà ëèíèè è ïåòíà, æèçíåðàäîñòíàòà

××ààññîîââííèèêê,, 1979, ìàñëåí ïàñòåë, õàðòèÿ, 60õ70 ñì.CClloocckk,, 1979, oil pastel on paper, 60õ70 cm

öâåòíîñò ìîãàò äà ïðè ñúñòâàò è â îöåíêàòà íà ïðèâè÷íàòàïîçíàòà äåéñòâèòåëíîñò. Íîâîòî â íåé íèÿ îáëèê èäâà ñåãàíå îò ó÷àñòâà ùèòå â êàðòèíàòà ïðåäìåòíè ñúñòàâêè, à îòíà÷èíà, ïî êîéòî ÿ âúçïðèåìà òâîð ÷åñêîòî ñúçíàíèå íàõóäîæíèêà. Òå çè òâîðáè ïîðàäè òîâà ñà è åäíî íà÷àëî êúìñëåäâàùèòå ïðîáëåìè íà ìëàäèÿ òàëàíòëèâ æèâîïèñåö, åäíîíà÷àëî ñ ìíîãî íåèçâåñòíè, íî òúêìî ïîðàäè òîâà è ìíîãîïðèìàìëèâî êàòî ïåðñïåêòèâè è âúçìîæíîñòè çà ðàçâèòèå ïîïîñîêà íà òðàéíèòå ñòîéíîñòè â èçêóñòâîòî.

Ìàêñèìèëÿí Êèðîâñï. Èçêóñòâî, 1980 / 5

ÒÒèè÷÷ààùù ààââòòîîïïîîððòòððååòò,, 11997799âúãëåí, õàðòèÿ, 65õ50 ñì.RRuunnnniinngg SSeellff PPoorrttrraaiitt,, 11997799charcoal on paper, 65õ50 cm

ÏÏîîððòòððååòò ííàà ááààùùàà ììèè,, 11997799ìàñëåí ïàñòåë, õàðòèÿ, 60õ40 ñì.PPoorrttrraaiitt ooff mmyy FFaatthheerr,, 11997799oil pastel on paper, 60õ40 cm

ÌÌååõõààííèè÷÷ååíí ÷÷îîââååêê,, 1979, ñóõ ïàñòåë, õàðòèÿ, 65õ50 ñì.MMeecchhaanniiccaall MMaann,, 1979, dry pastel on paper, 65õ50 cm

ÊÊîîììïïîîççèèööèèÿÿ ññ ááóóõõààëë,, 1976, ìàñëåíè áîè, ïëàòíî, 120õ100 ñì.CCoommppoossiittiioonn wwiitthh OOwwll,, 1976, oil on canvas, 120õ100 cm

WWiitthh hhiiss ppaarrttiicciippaattiioonnss in a number of national and oneinternational exhibition, just over a period of two yearsDemirdjian has managed to reveal the scope of his talent not onlywith the amount of works he has produced but with theirundeniable artistic quality. What is quite interesting with thisyoung painter is the internal consistency and logic with which heapproaches each issue, without engaging into conflict with theaesthetic programme and ideas inherent to his works. Despite thatthe emotional nature of this vibrant, sincere artist creates potentialopportunities for such conflict.

Edmond Demirdjian, among other Bulgarians, joined a group ofcontemporary artists who are interested in reflecting with their artthe collisions which the new urban, mechanised reality we all livein creates in an emotional, psychological and social plan. Butunlike other artists who try to reveal the cold, severearchitectonics of the environment in their compositions, he ismore often after a rather brutally obvious contrast between thegeometric proportions of the environment and the traditionalintimate surroundings of the individual. The coat, next to thehanger and the bicycle hung onto it make the message quiteobvious. ”Woman with Motorbike”, ”Still-life with Bicycle, Guitarand Clock”, ”Mechanised Man” are all works which spell out theaims of this programme quite clearly. What is the artisticequivalent of this in the composition? The artist constructs thecomponents of his imagery world by deliberately selectingotherwise incompatible objects from our contemporaryenvironment and doing that in a very unusual way. Instead ofmaking the distinction based on their structures and so promotetheir difference, he has indeed managed to link them – theelements of a traditional, or shall we say intimate world of theindividual, have been transformed here through artificialsimplification of forms, and the same method is almost identicallyapplied to mechanised objects too.

The result is that the elements have lost their coldausterity and have come to almost resemble toys.The chaos of wheels, screws, chains and boltshave gained intensely bright colours as a childartist would have done – deprive the mechanicalof its intimidating presence. Should one try toidentify based on this alone what the author’sattitude may be or his purely artistic take, then itmay seem as if it has no poignancy or is indeedrather unspecified. Man and the human co-existwith this new environment which organicallymerges with the habitual everyday. And indeedthere is no preaching about the young artist’sapproach, he is no way judgemental. However,neither of these mean that his philosophical andartistic programme lacks specificity.

ÅÅêêççîîòòèè÷÷ååíí ïïååééççààææ,, 1976ìàñëåíè áîè, ïëàòíî, 81õ100 ñì.EExxoottiicc LLaannddssccaappee,, 1976oil on canvas, 81õ100 cm

So how do we go about to define it in this case?

Edmond Demerdjian represents a generation who does not standaside watching the new realities in the contemporary Bulgarianworld.

This generation is not sentimental. When assessing thecontemporary world painter Demirdjian very truthfully reflectsone of the typical traits of our environment – an environment thatstill has no established appearance of its own, it still hasn’t settledin, it hasn’t become a life style. Elements of the old and new existeclectically side by side. And therefore it appears to be chaos, acollection of objects, possessions and people of no particularorder. This same chaos is matched in the composition of thepainting with a kind of decomposing principle in the arrangementof this unbelievable heap, which though lives within it its veryown limited life. And it is a life active, fulfilled with constantdynamic movement. Both man and his surrounding materialworld are present in the painting, not so much as personalrepresentatives of our contemporary world but rather as symbolssignifying this entire chaotic and extremely dynamic movement.That is why he contour, bursting with energy itself, is not so muchthere to bound the forms as to identify their motion. It has beentasked to be the line of power identifying the direction and energycharge of the chaotic movement. Could we limit the issues thisyoung painter raises with just these, when he yet shall reveal itsparameters in both breadth and depth? Some of the latest worksin his first exhibition convince in just the opposite. Theexperience he gained while working on his programme settingconceptual works is reflected in a rather curious way in some ofhis landscapes and still-life paintings, lacking the juxtaposition ofold and new, of traditional and contemporary. The energetic andexpressive language of these works place them neatly within thesame artistic issues so typical of his other works. They are theircontinuation, but to an extent they just as much deny them. It isobvious that the dynamics, the expressiveness, the tense rhythmof lines and spots of lively colour can be part of the assessment ofthe habitual, well known environment. What is new now are thenot the objects introduced into the them, but the way that thework is acknowledged by the artist’s vision. And therefore theseworks are indeed the beginning in the talented young painter’squest of issues, a beginning full of unknown parameters butprecisely because of that, also quite luring a perspective, anopportunity of development along the lines of intransient artisticvalues.

Maximilian KirovIzkustvo magazine, 1980/ 5

ÏÏååòòååëë,, 1979, òåìïåðà, õàðòèÿ, 70õ100 ñì.RRoooosstteerr,, 1979, tempera on paper, 70õ100 cm

ÀÀòòååëëèèååòòîî ííàà ÅÅääììîîííää å îò îíèÿ, êîèòî Ñòîëè÷íèÿò ñúâåòðàçäàâà ïîä íàåì íà õóäîæíèöèòå. È ñëàâà áîãó. Íèêîé îòïðåñåëíèöèòå â Ñîôèÿ íèòî ùå ñå íàñòàíè, íèòî ùå ãî âçåìåïîä íàåì. Òåçè àòåëèåòà ñà ñàìî çà ÷óäàöè. Íà ìèðàò ñå âïîÿñíàòà ÷àñò íà íå áîñòúðãà÷èòå íè. Îùå â êîðèäîðà îòòàâàíà âèñÿò çàñòðàøèòåëíè îòîïëèòåëíè òðúáè.Ìîäåëèðàíè ñÿêàø íà ðúêà, íàãëî âëèçàò, êðèâè è ãðîçíè, ïðåçñòåíàòà â àòå ëèåòî. Òîâà å íÿêàêâî íåäîñòèæèìîàâàíãàðäíî èíæåíåðíî ïðîåêòèðàíå. Îñúùåñòâåíî îòíàøåòî ñòðîèòåëñòâî, ïðåâðúùà ñâåòà íà Ôåðíàí Ëåæå âãðóá íàòóðàëèçúì.

 òîçè ñâÿò íà àòåëèåòàòà ìëàäèÿò õóäîæíèê íå å â ñúñòîÿ -íèå äà ñå âúðíå êúì àêàäåìèçìà. È Åäìîíä èñêðåí òðúãâàíàïðåä: “ êàðòèíèòå ñå ñòðåìÿ äà ñú÷åòàÿ àáñòðàêòíàòàèçðàçèòåëíîñò è êðàñîòà íà öâåòà, ôîðìà òà, ôàêòóðàòà,äâèæåíèåòî ñ ôèãóðàòèâíîòî íà÷àëî. Ìîæå áè äè íàìèêàòàíà âðåìåòî, â êîåòî æèâååì, ìîæå äà ñå èçîáðàçè è ïî òîçèíà÷èí. Ìîäóëíî èçãðàæäà íå íà ïëîñêîñòòà îò ôèãóðà, ïî -äîáèå íà ôèãóðà è àáñòðàêòåí åëåìåíò. Ïúðâîñòåïåííîçíà÷åíèå çà ìåí èìàò êîìïîçèöèÿòà. öâåòúò (ãàìàòà),ëèíèÿòà, ôîðìàòà, äâèæåíèåòî, âúòðåøíàòà ñòðóêòóðà.Îòòóê âàðèàíòè íà òåçè åëåìåíòè – ðàçäðîáÿâàíå íàôîð ìàòà, öâåòà, ñòðóêòóðàòà ñ öåë çàïàçâàíå íàïëîñêîñòòà. Ïî òîçè íà÷èí òîòàëíî çâó÷åíå íà êàðòèíàòàêàòî öÿëî. Óñëîâíî èçãðàæäàíå íà ïðîñòðàíñòâî è ôè ãóðè.Âàðèàöèè íà åäíà òåìà: ñòîë, ðèáè, ïåðñîíàæ, êîìïîçèöèÿ îòãåîìåòðè÷íè ôèãóðè. Äèíàìè÷íî, åêñïðåñèâíî èçãðàæäàíå íàêàðòèíàòà – äà çâó÷è êàòî ñèãëà – åäíîâðåìåííî. Ðèñóâàìñòðóêòóðè, çàùîòî ìè îñèãóðÿâàò äà çàïàçÿ ïëîñêîñòòà.Ñþæåòúò å ïîâîä çà åäíî ñâîáîäíî áîðàâåíå ñ öåëåêñïðåñèâíî è äèíàìè÷íî çâó÷åíå íà êàðòèíàòà, íî áåçïðåíåáðåãâàíå íà òåìàòà èçöÿëî. Òåìà ìîæå äà áúäå èåêñïðåñèÿòà. Íå áèõ èñêàë äà ðèñóâàì ÷èñòà àáñòðàêöèÿ.Áîðáà ìåæäó ôèãóðàòèâíîòî è àáñòðàêòíîòî íà ÷àëî.Ðàçíîîáðàçèå â åäíîîáðà çèåòî.”

Òåçè áåëåæêè íà õóäîæíèêà ìè íàïîìíèõà íàñòúðâåíèòå äóìèîò ìàíèôåñòèòå ïà ôóòóðèñòèòå. È íå ñëó÷àéíîêàðòèíèòå ìó ñà íåñïèðàùî äâèæåíèå, êàëåéäîñêîïíàâúðòåëåæêà. Òàêà ñèëíî å óñå ùàíåòî çà äâèæåíèå, çà ñêîðîñò.Ñÿêàø å êèíåòè÷íî èçêóñòâî. Ëèïñâà áðúì÷àùîòîåëåêòðîìîòîð÷å. Òî å äâèæåíèåòî íà ðúêàòà ìó. Íåãîâîòîóñåùàíå. Ñ ôóòóðèñòèòå íÿìà íèùî îáùî. Îòäàâíàñêîðîñòòà íå å îòêðèòèå, à íàø áèò. Òîãàâà?

Òàçè íåãîâà âúðòåëèâà âèõðóøêà, òîçè ÷óäåñåí âåíòèëàòîð-òâîðåö òàêà çàâúðòâà è ïðúñêà ÷î âåöè è âåùè âïðîñòðàíñòâîòî, ÷å òå ñå ïðåðàæäàò â ïîåòè÷íè âå ùè, âïîåòè÷íè ÷îâåöè.  íåáèâàëîòî ïðîñòðàíñòâî âåùòà ñòàâàðàâíîñòîéíà íà ÷îâåêà. È âúëíóâàùà.

ÀÀââòòîîïïîîððòòððååòò,, 1979òåìïåðà, õàðòèÿ, 50õ40 ñì.SSeellff PPoorrttrraaiitt,, 1979tempera on paper, 50õ40 cm

ÀÀââòòîîïïîîððòòððååòò, 1984, òåìïåðà, õàðòèÿ, 65õ50 ñì.SSeellff PPoorrttrraaiitt, 1984, tempera on paper, 65õ50 cm

ÔÔîîòòîîããððààôô II,, 1979òåìïåðà, õàðòèÿ, 50õ65 ñì.PPhhoottooggrraapphheerr II,, 1979tempera on paper, 50õ65 cm

 ñòàÿòà íà ñèíà ìè ñòîè åäèí íåãîâ àâòîïîðòðåò. Òîé åÿõíàë ïåòåë. Êàêâî ìîæåòå äà î÷àêâà òå îò åäèí òàêúâõóäîæíèê? Èëè ëóäîñò, èëè èçêóñòâî. Èëè äâåòå çàåäíî.

Åäìîíä ïðåñòàíà äà áúäå ñàð êàñòè÷åí è íàñìåøëèâ. Çíàÿòî÷íî îòêîãà. Êîãàòî íà óëèöàòà ãî âèäÿõ ñúñ çàìðúçíàëàóñìèâêà ïðåä ïðåäñòàâèòåëÿ íà ÊÀÒ, êîéòî ìó ñå êàðàøå.Çàùî ñå øåãóâàì? Çàùîòî øåãàòà ìè ëèïñâà. À òÿ äà ñòàíåèçêóñòâî – òîâà å óæàñíî ìú÷íî. Òàçè ìúêà å ðàäîñòòà íàíåãîâîòî èçêóñòâî. Ïåéçàæúò, ìúðòâàòà ïðèðîäà, ÷îâå öèòå,öåëèÿò ìó ñâÿò å åäèí ïðåêðàñåí Àðëåêèí. Âåñåë âèçæèâÿâàíèÿòà ñè. Èíòåëèãåíòåí è ñëîæåí. È êàòî âñåêèÀðëåêèí òîé å íåîáóçäàí, êàòî íåïîñëóøíî äåòå ðàçõâúðëÿâñè÷êî êàòî äåòñêè èãðà÷êè. Ñúçäàâà íîâ ñâÿò – ïî-ïîåòè÷åíè íåîáè÷àåí. Ìàñêàòà íà æèâîïèñòà ìó å íåîáóçäàíà,åêñïðåñèâíà, äðàñòè÷íà, æèçíåíà. Òàêàâà å è áîÿòà ìó.

Ñòàðèÿò ìó ñàðêàçúì, øåãà, ñà ñòàíàëè ìèðîãëåä, äúëáîêîîñìèñëåí â ñàìèÿ íåãî, çàòîâà è òàêà öÿëîñòíî èçæèâÿí âêàðòèíàòà. Â òàçè âúðòÿùà ñå êàðòèíà, îò êîÿòî íà íåãîäîðè çà ìèã íå ìó ñå çàâèâà ñâÿò.

Àòàíàñ Íåéêîââ. Ëèòåðàòóðåí ôðîíò, 1987(ñ ìàëêè ñúêðàùåíèÿ)

ÔÔîîòòîîããððààôô IIII,, 1979òåìïåðà, õàðòèÿ, 65õ50 ñì.PPhhoottooggrraapphheerr IIII,, 1979tempera on paper, 65õ50 cm

EEddmmoonndd’’ss ssttuuddiioo is one of the Municipality-owned spaces rented toartists. And thank goodness. None of Sofia’s newcomers would haveever thought to stay there, let alone pay rent for it. These studios are forweird people. They are located in the margins of our skyscrapers.Heating pipes hang menacingly down from the ceiling in the hallway.As if corrugated by hand, crooked and ugly, they make their wayimpudently into the studio through the wall. Some insuperable,avantgarde engineering design it is. And brought into being by ourconstruction industry, it could well send Fernand Leger’s world straightinto crude naturalism.

In this world of studios the young artist cannot go back to the academictradition. And so Edmond set forth with sincerity. ”In my paintings Iseek to combine abstract expression and the beauty of colour, shape,texture, movement and the figurative. Perhaps the dynamics of thetimes we live in may be depicted like that as well. A modularconstruction of the flat surface by putting together a figure, simile of afigure and an abstract element. To me composition comes first, alongwith colour (the full range), line, form, movement, internal structure.And then versions of these elements – breaking up form and colour,breaking up the structure to preserve the flat surface. And thus thepainting preserves its integrity. Conditional construction of space andforms. Variations of the same theme: chair, fish, personage,composition of geometric figures. Dynamic, expressive construction ofthe painting – make it sound like a logogram – in a single breath. Ipaint structures because they allow me to preserve the flat surface. Theplot is reason for freedom of touch aimed at an expressive, dynamicsounding of the painting without completely neglecting the theme.Expression may be the theme. I don’t want to make just abstractpaintings. The struggle between the figurative and the abstract. Diversityin the similarity.”

These notes by the artist reminded me the fervent manifestos of thefuturists. It is no coincidence that his paintings are endless motion, akaleidoscopic roundabout. This is how powerful the sense ofmovement and speed is. As if it were kinetic art. The only thing missingis the hovering electrical engine. Which is the stroke of his hand. Hisfeel. Nothing to do with the futurists. Speed has ceased to be a noveltyfor quite a while now, it is our life. So?

This spinning whirlwind, this incredible fan of an artist swirls so andspreads people and objects into space, then they are reborn intoobjects of poetry or people of poetry. In this make-belief space objectsequal to people. And are just as exciting.

One of his self-portrays can be found in my son’s room. Him riding arooster. What might one expect of such an artist? It would either beinsanity or art. Or both.

Edmond is no longer sarcastic or patronising. And I know since when.When I saw him in the street with a smile frozen on his face while a

road police officer was telling him off. Why am I joking? Because I missjoking. And it is awfully hard to turn it into art. Which hardship is his joyin art. His landscape, his dead nature, people – his entire world is onefascinating Harlequin. Merry in his experiences. Intelligent andcomplicated. And like any Harlequin, he’s also untamed, throwingeverything about like a naughty child’s toys. Creating a new world –more poetic, unusual. The mask of his painting is untamed –expressive, drastic, vivacious. Just like his colour.

The old sarcasm, the joke – they’ve become his view, deeplyacknowledged from within, and therefore so profoundly experiencedin the painting. In this whirling painting that even for a second does notmake him feel dizzy.

Atanas NeykovLiteraturen Front newspaper, 1987(with minor contractions)

ÒÒððèè ôôèèããóóððèè ññ êêîîëëååëëîî,, 1981, ìàñëåí ïàñòåë, õàðòèÿ, 60õ70 ñì.TThhrreeee FFiigguurreess wwiitthh BBiiccyyccllee, 1981, oil pastel on paper, 60õ70 cm

ÑÑððååùùàà,, 1981, ìàñëåí ïàñòåë, õàðòèÿ, 60õ70 ñì.DDaattee, 1981, oil pastel on paper, 60õ70 cm

ÐÐààççããîîââîîðð,, 1982, àêâàðåë, òóø, õàðòèÿ, 50õ60 ñì.CCoonnvveerrssaattiioonn,, 1982, watercolour and ink on paper, 50õ60 cm

ÏÏååððññîîííààææèè,, 1982, àêâàðåë, òóø, õàðòèÿ, 50õ60 ñì.PPeerrssoonnaaggeess,, 1982, watercolour and ink on paper, 50õ60 cm

ÐÐààççããîîââîîðð ççàà èèççêêóóññòòââîî,, 1982, òåìïåðà, õàðòèÿ, 60õ70 ñì.CCoonnvveerrssaattiioonn aabboouutt AArrtt,, 1982, tempera on paper, 60õ70 cm

ÀÀêêððîîááààòòèè,, 1982, òåìïåðà, õàðòèÿ, 60õ70 ñì.AAccrroobbaattss,, 1982, tempera on paper, 60õ70 cm

ÇÇàà ññððààââííèèòòååëëííîî êêððààòòêêîî ââððååììåå òâîð ÷åñòâîòî íà ÅäìîíäÄåìèðäæèÿí åâîëþèðà ðåøèòåëíî áúðçî. Ïî ïúòÿ íàðàçâèòèåòî ïðåìèíà ïðåç ðàçëè÷íè ïåðèîäè, äîïúëâàùè èèçãðàæäàùè äíåøíèÿ ìó îáëèê. Ñëåä çàâúðøâàíå òî íàÕóäîæåñòâåíàòà àêàäåìèÿ çà ïî÷âà åäèí “àíàëèòè÷åí” ïåðèîä,ïðåç êîéòî ìëàäèÿò õóäîæíèê çàäúëáî÷åíî èçó÷àâàòâîð÷åñòâîòî íà Ñåçàí, Áðàê, Ïèêàñî. Òðóïàò ñå òåòðàäêè ñúñçàïè ñêè, ðèñóíêè, èçîáðàçÿâàùè òåîðèè çà öâåòà, êîìïîçèöèÿòà,ëèíèÿòà è ò.í. Æèâîïèñíèòå ìó ïëàòíà îò îíîâà âðå ìåïîêàçâàò ïðèñòðàñòèå êúì êîíñòðóêòèâèñòè÷íîòî íà÷àëî.Ïîðòðåòè òå, êîìïîçèöèèòå èëè íàòþðìîðòèòå èçäàâàòðúêàòà íà äîáúð ðèñóâà÷ è íà êîëîðèñò ñ ÷óâñòâî êúì ñèëíèòå,íî õàðìîíèðàíè öâåòîâå. Ïúðâàòà ìó èç ëîæáà ïðåç 1979 ã. èìàãîëÿì óñïåõ.

Ñëåäâàùèÿò ïåðèîä îò òâîð÷åñêîòî ìó ðàçâèòèå òðúãâà âðàçëè÷íà ïîñîêà. Ãîäèíè íàðåä õóäîæíèêúò ðèñóâà ôèãóðàëíèêîìïîçèöèè ñ òåìïåðà. Îòëè ÷àâà ãè ãðîòåñêíîñòòà íàñèòóàöèÿòà, òèïè÷íîñòòà íà ïåðñîíàæèòå.  àòìîñ ôåðàòà íàïîâå÷åòî îò òÿõ èìà íåùî îò ñâåòà íà öèðêà – ìúæêè è æåíñêèôèãóðè, ñòúëáè, òîïêè, êîëåëåòà, îá ðú÷è – âñè÷êî ñå çàâèõðÿ âêðúãîâ ðèòúì.  òåçè òâîðáè îòêðèâàìå è îíåçè ÷åðòè, êîèòîùå õàðàêòåðèçèðàò òâîð÷åñòâîòî ìó îòòóê íàòàòúê è âèíà ãèùå ãî îòëè÷àâàò ñ îïòèìèçìà, ïðè ïîâäèãíàòèÿ äóõ, âåñåëîòîíàñòðîå íèå, êîèòî ïðåîáëàäàâàò äîðè êîãàòî çàä òÿõ ïðîçèðàòïî-òúæíè è ïî-ìúä ðè íîòêè.

Êîãàòî îòíîâî ñå âðúùà êúì ìàñëå íèòå áîè, àìáèöèèòå ìó ñàìíîãî ïî-ãîëåìè.  ïîðåäíàòà èçëîæáà ïðåç 1987 ã. ñ íàä 70ïëàòíà ñúæèòåëñòâàò ïîðòðåòè, íàòþðìîðòè, ïåéçàæè èêîìïîçèöèè, êàòî âñåêè æàíð å çàïà çèë îòíîñèòåëíàòà ñèñàìîñòîÿòåë íîñò. Ùî ñå îòíàñÿ äî ñòèëà íà ðàáîòà, òîé êàòî÷å ëè å ñú÷åòàë ÿðêèÿ, íàñè òåí, ñèëåí êîëîðèò îò ïúðâèÿ ïåðèîäíà àâòîðà ñ âèòàëíîñòòà íà îáðàçèòå îò âòîðèÿ. Âñå îùåîáà÷å íåùàòà ñå ðàç ìèíàâàò – ïîíÿêîãà ðåàëèñòè÷íèÿò ïîäõîäñå ñáëúñêâà ñ ïðèíöèïà íà èçãðàæäàíå íà êàðòèíàòà ïî ïëîñêîñò -òà, äðóã ïúò ñàìàòà àãðåñèÿ íà ÷åòêàòà è öâåòà å òîëêîâàãîëÿìà, ÷å ñå ïðåâ ðúùà â êîíôëèêòíà. Õóäîæíèêúò å ðàçëè÷åíïî÷òè âúâ âñÿêà êàðòèíà, êà òî ÷å ëè âñå îùå åêñïåðèìåíòèðà,òúðñè äà íàìåðè ñåáå ñè.

Ñëåä òåçè ãîäèíè íà íåïðåêúñíàò òðóä Åäìîíä Äåìèðäæèÿííàâëèçà àêî íå â íàé-çðåëèÿ ñè, òî â íàé-õàð ìîíè÷íèÿ ñè ïåðèîä.  òåìàòè÷íèòå ñåðèè, êîèòî ðàçðàáîòâà â ïðîäúëæå íèå íàíÿêîëêî ãîäèíè, òîé äîñòèãà åäíà åñòåòè÷åñêà ïðåöèçíîñò íàòâîð áèòå ñè, êîÿòî ðàäâà ñúñ ñâîåòî êîì ïîçèöèîííî èêîëîðèòíî ñúâúðøåíñ òâî. Ñâîåîáðàçíà êóëìèíàöèÿ íà òîçèïåðèîä ñà ïðåäñòàâåíèòå 25 òâîðáè íà åñåííèòå èçëîæáè âÏëîâäèâ, âñè÷êè íà òåìà “Âèñÿùè ðèáè”. Ïðîâîêàöèÿòà íàåêñïîçèöèÿòà, êàêòî è õàðàêòåðúò íà ðàáîòèòå äàäîõà ïîâîääà ñå ãîâîðè çà “ïàòåíò” íà Åäìîíä Äåìèðäæèÿí.  òåçè

××îîââååêê ññ ääèèííÿÿ, 1987 ìàñëåíè áîè, ôàçåð, 90õ70 ñì.MMaann wwiitthh aa WWaatteerr--mmeelloonn, 1987 oil on fibreboard, 90õ70 cm

êàðòèíè õóäîæíèêúò êàòî ÷å ëè ñå íàñëàæäàâà íà ñîáñòâåíàòàñè âèðòóîçíîñò äà êîìïîçèðà, äà èçãðàæäà æèâîïèñíèñòðóêòóðè, äà áîðàâè ñâî áîäíî ñ öâåòîâåòå, ñúçäàâàéêè ñëîæíèíþàíñè, äåëèêàòíè ïðåõîäè è “äúëáî êè” ëîêàëíè ïåòíà. Çà ðàçëèêàîò ïðå äèøíèòå ìó æèâîïèñíè ïëàòíà, êúäå òî íàääåëÿâà õàîñúòíà öÿëîòî è ôî íúò íàïèðà äà ñå ñëåå ñ èçîáðàæåíèå òî, òóêíåùàòà ñà óñïîêîåíè, ïëàíîâå òå ñà ÿñíè, àãðåñèÿòà íà öåíòúðàóòèõâà â èç÷èñòåíîòî îòçàä ïðîñòðàíñòâî. Ñâîåòî ïî-îò÷åòëèâî ìÿñòî íàìèðà äåòàéëúò, êúì êîéòî Å. Äåìèðäæèÿíâèíàãè å èçïèòâàë ñëàáîñò, íî êàòî ÷å ëè å áèë ðàçìèâàí âîáùàòà ñòèõèÿ íà áîèòå. Ñåãà ÷îâåê ìîæå äà ðàçãëåæäà ñ ÷àñîâåîòäåëíè åëåìåíòè â íåãîâèòå êàðòèíè. Äàðáàòà ìó íà ðèñóâà÷òóê ñå èçÿâÿâà ÷ðåç èçÿùíèòå ëèíèè, íàíåñå íè ñ âúðõà íà ÷åòêàòàè ñúçäàâàùè ìíîãî îò ïðåöèçíîñòòà íà êîìïîçè öèÿòà.

Õàðàêòåðåí çà ïîñëåäíèòå ðàáîòè íà Åäìîíä Äåìèðäæèÿí åáàëàíñúò íà ðúáà íà àáñòðàêòíîòî è ðåàëíîòî. Àêî òðÿáâà äàäàäåì îïðåäåëåíèå íà ñòèëà ìó, åäíî îò âúçìîæíèòå åôàíòàñòè ÷åí åêñïðåñèîíèçúì. Âòîðàòà ÷àñò îò íåãî ñå îòíàñÿäî íà÷èíà ìó íà ðàáîòà è íà ïîëàãàíå íà áîèòå, à ïúðâàòà çàñÿãàèìåííî îíîâà ñòðàííî óñåùàíå çà äâèæåíèå ìåæäó ïîçíàòîòî èíå ïîçíàòîòî, ìåæäó çåìíîòî è èçâúí çåìíîòî. Ìíîãî îòïîñëåäíèòå ìó êàðòèíè íàïîìíÿò ïåéçàæ èëè íàòþð ìîðò,çàùîòî â òÿõ îòêðèâàìå çàãàòíà òè ïîçíàòè åëåìåíòè îòíàòóðàòà. Îá ùîòî âïå÷àòëåíèå îáà÷å êëîíè ïîâå÷å êúìàáñòðàêöèÿòà. Âñúùíîñò â òîçè ñïåöèôè÷åí áàëàíñ ñå êðèåîðèãèíàë íîñòòà è ñèëàòà íà òâîð÷åñòâîòî íà ÅäìîíäÄåìèðäæèÿí. Ñàìèÿò òîé êàçâà: “ êàðòèíèòå ñå ñòðåìÿ äàñëåÿ àáñòðàêòíàòà èçðàçèòåëíîñò è êðàñîòà íà öâåòà,ôîðìàòà, ôàêòóðàòà, äâèæå íèåòî ñ ôèãóðàòèâíîòî íà÷àëî.Äèíà ìèêàòà íà âðåìåòî, â êîåòîæèâååì, ìîæå äà ñå èçðàçè è ïîòîçè íà÷èí.”

Îáîáùàâàéêè îáðàçà íà õóäîæíèêàÅäìîíä Äåìèðäæèÿí, ìîæåì äà êà -æåì, ÷å òîé å ñúñòàâåí îò äâåîñíîâíè ÷åðòè – âèñîêïðîôåñèîíàëèçúì è íå âåðîÿòíàôàíòàçèÿ. Ñïîñîáíîñòòàáåçêðàéíî äà èçìèñëÿ íîâè ôîðìè,ñèòóàöèè, öâåòîâå è åíåðãè÷íî äàãè ïîìåñòâà â ïðîñòðàíñòâîòîíà ïëàòíî òî îïðåäåëÿ èçíåíàäàòàâúâ âñÿêà ñëåäâàùà êàðòèíà. Òåçèêà÷åñòâà íè ïîäñêàçâàò, ÷å îòõóäîæíèêà ùå î÷àê âàìå è íîâèïðåâúïëúùåíèÿ.

Ìàðèÿ Âàñèëåâàñï. Ðóæèöà, 1991 / 4

ÊÊððààéé ááððååããàà ííàà ììîîððååòòîî, 1987 ìàñëåíè áîè, ôàçåð, 81õ100 ñì.BByy tthhee SSeeaa CCooaasstt, 1987 oil on fibreboard, 81õ100 cm

ÂÂèèññÿÿùù êêààëëêêààíí II,, 1989, ìàñëåíè áîè, ïëàòíî, 46õ38 ñì.HHaannggiinngg TTuurrbboott II,, 1989, oil on canvas, 46õ38 cm

ÂÂèèññÿÿùù êêààëëêêààíí IIII,, 1989, ìàñëåíè áîè, ïëàòíî, 46õ38 ñì.HHaannggiinngg TTuurrbboott IIII,, 1989, oil on canvas, 46õ38 cm

EEddmmoonndd DDeemmiirrddjjiiaann’’ss wwoorrkk evolved substantially over a relatively shortperiod of time. Along the way he went through different phases whichcomplement and make up what he is now. Straight out of Art Academyhe launched into his ”analytical” period – the young artist studiedprofoundly Cezanne, Braque, Picasso. Notebook after notebook withcomments and drawings on theory of colour, composition, line, etc. Hispaintings of those days reveal a passion for constructionalism. Theportrays, compositions and still-lives give away a good hand for drawingand colouring, and a sense for intense though harmonic shades. His firstexhibition in 1979 was a huge success.

The period that followed went off into a completely different direction.For several years the artist painted figural compositions in tempera. Theywere striking with the grotesque plot and typical personages. There issomething from the world of circus in the air of most of them – male andfemale figures, ladders, balls, wheels, hoops – and everything whirling ina cyclic rhythm. In these works one can see the traits that will yet remainpart of his art thereafter, his distinctive optimism, high spirit, cheerfulnesseven when more sober, profound notes lurk behind them.

When he returned to oil he came back with greater ambition. In his 1978exhibition he displayed over 70 canvases, bringing together portrays, still-lives, landscapes and compositions, with relative independence in eachgenre. As for his style, he seems to have combined the bright, intense andpowerful colours of the first period with the vitality of imagery of thesecond. But still there are discrepancies – at times the realistic approachclashes with the principle of creating a painting on a flat surface, at othertimes the mere aggression of the brush and colour is so great that it turnsinto conflict. The artist is different in almost every painting as if he is stillexperimenting, as if he seeks to find his true nature.

ÈÈííòòååððèèîîðð,, 1989ìàñëåíè áîè, ïëàòíî, 65õ81 ñì.IInntteerriioorr,, 1989oil on canvas, 65õ81 cm

After these years of industry Edmond Demirdjian entered perhaps not hismost mature but certainly his most harmonic period. In the thematicsequence he developed over several years he reached an aestheticprecision worthwhile for its perfection in composition and colouring. Hissequence of 25 works entitled ”Hanging Fish” displayed at the autumnexhibition in Plovdiv were the height of this period. The provokingcomposition and the mere character of those works gave rise to the claimof Edmond Demirdjian’s ”patent”. The artist seemed to enjoy his ownvirtuosity in composition, in creating structures, free application of colourand creation of complex nuances, delicate transitions and ”deep” localspots. Unlike his earlier canvases with their overarching chaos of thewhole, with backgrounds surging to blend with the image, these aremuch more at peace, the layers are more distinct, the aggression of thecentre calms down into the clear space behind. Detail has found a muchmore distinctive place, and detail has always been Demirdjian’s passion,but until now has always been diluted into the overall tempest of colours.Now one could well spend hours studying individual elements on hispaintings. His talent for drawing can be seen in the exquisite lines madewith the tip of the brush, creating ultimate precision in the composition.

Edmond Demirdjian’s latest paintings come with a fine balance betweenthe abstract and the real. And should one give a definition of his style,one option may be to call it expressionistic fiction. The first part comesfrom the way he applies paint, and the second is all about that strangesense of movement between the known and the unknown, between theearthly and the extraterrestrial. Many of his latest works remind oflandscapes or still-lives with the numerous hints of recognisable elementstaken from nature. But generally one would mainly be inclined to think ofthe abstract. And it is indeed in this quite striking balance that EdmondDemirdjian’s originality and artistic power lie. He claims that ”In mypaintings I try to merge the abstract expressiveness with the beauty ofcolour, form, texture, the motion of the figurative. The dynamics of thetime we live in can be expressed like this as well.”

To summarise Edmond Demirdjian’s image as an artist, it would be fair tosay that he is made up of two major trends – incredible professionalismand astounding imagination. The capacity to keep coming up with newforms, plots, colours, the energy of encompassing them within the canvasis prerequisite for the surprise in each painting. These come to assure usthat there is yet new incarnations to see from this artist.

Maria VassilevaRuzhitsa magazine, 1991/4

ÏÏååééççààææ ññ êêúúùùàà, 1989ìàñëåíè áîè, ïëàòíî, 50õ65 ñì.LLaannddssccaappee wwiitthh HHoouussee, 1989oil on canvas, 50õ65 cm

ÇÇååëëååííîî ííååááåå, 1989ìàñëåíè áîè, ïëàòíî, 60õ73 ñì.GGrreeeenn SSkkyy, 1989oil on canvas, 60õ73 cm

ÍÍààòòþþððììîîððòò ññ ââààççàà,, 1993, ìàñëåíè áîè, ïëàòíî, 80õ80 ñì.SSttiillll LLiiffee wwiitthh VVaassee,, 1993, oil on canvas, 80õ80 cm

ÍÍîîùùååíí ííààòòþþððììîîððòò,, 1993, ìàñëåíè áîè, ïëàòíî, 80õ80 ñì.NNooccttuurrnnaall SSttiillll LLiiffee,, 1993, oil on canvas, 80õ80 cm

ËËååòòÿÿùùèè ôôîîððììèè,, 1993, ìàñëåíè áîè, ïëàòíî, 80õ80 ñì.FFllyyiinngg SShhaappeess,, 1993, oil on canvas, 80õ80 cm

ÊÊîîììïïîîççèèööèèÿÿ,, 1993, ìàñëåíè áîè, ïëàòíî, 80õ80 ñì.CCoommppoossiittiioonn,, 1993, oil on canvas, 80õ80 cm

Ню Йорк

ÍÍÿÿêêîîèè èèççññëëååääîîââààòòååëëèè íà òâîð÷åñòâîòî ñìÿòàò, ÷å åäèí íîâ,ìîäåðåí Ðåíåñàíñ ìîæå äà áúäå ñëåäñòâèå îò ñìóòíèòåâðåìåíà è ñâúðçàíèòå ñ òÿõ âúëíåíèÿ ó íàöèèòå, êîèòî ñåîñâîáîäèõà ñëåä êðàõà íà êîìóíèñòè÷åñêèÿ áëîê.Ìîäåðíèñòè÷íîòî èçêóñòâî íà Åäìîíä Äåìèðäæèÿí ñ ëåêîòàìîæå äà ïîòâúðäè òàçè òåîðèÿ, êàêòî è èäåÿòà çàïîëçîòâîðíàòà ñâîáîäà.Äåìèðäæèÿí îñâîáîæäàâà ìîäåðíîòî èçêóñòâî â ñâîèòåêàðòèíè, èçïúëíåíè ñ áëÿñúê, ôàíòàçèÿ è ñåáåóòâúðæäàâàíå. Toéäîðàçâèâà íàëîæåíàòà òðàäèöèÿ íà áèîìîðôíàòà àáñòðàêöèÿ÷ðåç æèâèòåëíà ïîäðåäåíîñò è ÿ ïðåâðúùà â ÿðêà è èçïúëíåíà ñíàñëàäà ìèñòåðèÿ. Ïî âðåìå íà ñâîÿ ïåðèîä íà ôîðìèðàíå âÁúëãàðèÿ õóäîæíèêúò ñå çàíèìàâà ñúñ ñâîåòî ëè÷íî òâîð÷åñêîðàçâèòèå òèï “ñàìèçäàò”, êàòî èçó÷àâà òàéíî âíåñåíèðåïðîäóêöèè íà çàáðàíåíè ìîäåðíèñòè. Òîé å çàêëåòìîäåðíèñò, ïîòîïèë ñå â íàó÷íîòî èçó÷àâàíå íà òàêèâà ôèãóðèêàòî Ñåçàí, Ïèêàñî è Äå Êóíèíã. Ïðè ïî-êúñíèòå ñè ïúòóâàíèÿòâîðåöúò îñúçíàâà íåîáõîäèìîñòòà äà íàïàñíå àáñòðàêöèÿòàè ïðèðîäàòà êúì ïîäòèñêàùàòà ìîäåðíîñò íà åæåäíåâèåòî.Ñïàñåíèåòî çà Äåìèðäæèÿí å â ìîäåðíèÿ òèï áèîìîðôíààáñòðàêöèÿ, êîÿòî îòêðèâàìå â èçáðàíè ïëàòíà íà Ïèêàñî îòêðàÿ íà äâàéñåòòå è åñòåñòâåíî â Ìèðî èëè Ãîðêè èëè ïúê âúââåòðîïîêàçàòåëèòå íà êúñíèÿ Êàíäèíñêè. Äà íå ãîâîðèì çàñõîäñòâîòî ñ Òàíãè èëè ñ ïî-ðàçâèòèòå ñòðóêòóðè íà ÔðàíñèñÁåéêúí. Òîâà å âèä ñþððåàëèçúì, íî íå îò òèïàõàëþöèíàíöèîííà ãðîòåñêà íà Ìàãðèò èëè Äàëè. Ïî-ñêîðî åïðèáëèçèòåëíà, îòêîëêîòî òî÷íà ñèìâîëèêà. Åëèïòè÷íîâíóøåíèå íà îðãàíèçìà è àëþçèÿ çà îáðàçà íà æèçíåíàòà ñèëà èåäíîâðåìåííî ñàðêàçìà ó ÷îâåêà.  òîâà öàðñòâî íà äðúçêàòà èïðîìåíÿùà ñå ïúñòðîòà, íà íàñèòåíèÿ ñèìâîë è ìèñòåðèîçíèÿðååù ñå çíàê, Äåìèðäæèÿí ñúçèðà ìàãè÷åñêàòà õàðìîíèÿ íàôèçè÷åñêàòà è äóõîâíàòà ïðèðîäà. Íåãîâèòå îáèòàòåëèáåçãðèæíî íàñåëÿâàò ñîáñòâåíàòà ñè öâåòíà óíèêàëíîñò âáåçêðàÿ, êîéòî ëúêàòóøè è íåëåïî ñå èçâèâà â ñòèëà íàíåïðåâîäèìèòå ãëàâîáëúñêàíèöè íà Ëóèñ Êàðîë. Òÿõíàòà îáèòåëíå ïðåäñòàâëÿâà ñþððåàëèñòè÷íî åäíîîîáðàçíà, ðàâíà è ñóõàïóñòèííè ðàâíèíà, à ÿðêà èëþñòðàöèÿ íà ÷óäàòèÿ êèïÿùæèâîò, â êîéòî áèâàìå ïîòîïåíè. Áîãàòèòå öâåòîâå íàÄåìèðäæèÿí ïðåõâúðëÿò ãðàíèöàòà íà îñòàðåëèòå çëîêîáíèñþððåàëèñòè÷íè ðåïëèêè íà çåìíèòå òîíîâå, çà äà ñåïðåâúðíàò â ÿðêî ñúîòâåòñòâèå íà ñâðúõåñòåñòâåíîòîâíóøåíèå, ïðîêðàäâàùî ñå â òåõíèÿ ëåòàðãè÷åí ñâÿò,èíòåðïðåòèðàíî ñ ïðåöèçíîñò è ôèíåñ, ÷èÿòî åíèãìà îñòàâàíåîïåòíåíà îò íåäîäÿëàíè ïðåäïîëîæåíèÿ. Îáðàçúò å ñúçäàäåíñ óâåðåíîñò è íåïîêîëåáèìî ïëàñòè÷íî ñúâúðøåíñòâî âúçîñíîâà íà ñúâðåìåííàòà íè ìîäåðíà òðàäèöèÿ. Òàçè óâåðåíîñòïðàâè èçêóñòâîòî íà Äåìèðäæèÿí ðàçëè÷íî è àâòîðèòåòíî âñâåòà íà äíåøíàòà ìîäåðíîñò.

Àíäðþ Ìàêäîíúë25.11.1994

<ÄÄèèààëëîîãã,, 1995, àêðèë, ïëàòíî, 130õ97 ñì.DDiiaalloogguuee, 1995, acrylic on canvas, 130õ97 cm

ÒÒààííööúúòò ííàà ôôîîððììèèòòåå,, 1995, àêðèë, ïëàòíî, 90õ120 ñì.TThhee DDaannccee ooff SShhaappeess,, 1995, acrylic on canvas, 90õ120 cm

 ááîîòòààííèè÷÷ååññêêààòòàà ããððààääèèííàà,, 1995, àêðèë, ïëàòíî, 90õ120 ñì.IInn tthhee BBoottaanniiccaall GGaarrddeenn, 1995, acrylic on canvas, 90õ120 cm

>ÀÀççááóóêêààòòàà ííàà ÅÅääììîîííää,, 1995, àêðèë, ïëàòíî, 120õ90 ñì.EEddmmoonndd’’ss AAllpphhaabbeett,, 1995, acrylic on canvas, 120õ90 cm

SSoommee rreesseeaarrcchheerrss into creativity think that a new modernRenaissance may result from the turmoil and consequent creativeferment in those nations now free with the collapse of the commu-nist bloc. The modernist art of Edmond Demirdjian can help confirmthat theory, and fruitful liberty.

Demirdjian liberates modern art – fettered in East and West alike bydull dogmatisms – in paintings of luster, fantasy, and authority. Andhe extends the venerable tradition of biomorphic abstraction bylively discipline, in a bright mystery of delight. In his formative yearsin Bulgaria, he pursued his personal artistic development in samizdatstyle, by studying smuggled reproductions of the forbidden moderns.He was a committed modernist, immersed in scientific research ofsuch figures as Cezanne, Picasso, and De Kooning. In his later travels, the artist became aware of the need to accommodate abstraction and nature to the aggravated modernity of daily life.Demirdjian’s recourse is the modernist phylum of biomorphic abstraction, stemming from select paintings by Picasso in the latetwenties; or certainly from Miro, or Gorky, or the whirligigs of lateKandinsky. And there is kinship to Tanguy, or the more advancedstructures in Francis Bacon. It is called a species of surrealism: but itis not the hallucinatory caricature of Magritte or Dali. It is approximate rather than accurate figuration: the elliptic intimation oforganism, and the allusion of vision to the vital put pungently humane. With this domain of sporting and veering motley, of teeming symbol or eerie floating sign, Demirdjian observes theoneiric accord of psychic and physical nature. His denizens gailypopulate their own technicolor singularity, in the continuum thatbends and reels mimsy with the slithy Carrollian toves that gyre orgimbel in it. Their habitats are not the surrealist’s humdrum desertflats and arid places, but are vivid revetments of the odd spry lifethey spring upon us. Demirdjian’s rich colors go beyond the old ominous surrealist retort of earth tones, to leap lurid match for theweird hint limpid in their suspended world, which is rendered withan exactitude and finesse whose enigma suffers no smudge or sloppyguess. Its image is made with an assurance and decisive plastic excellence based in our modem tradition. That confidence makesEdmond Demirdjian’s art distinctive and authoritative in today’smodernity.

Andrew McDonnellNovember 25, 1994

Досев

ÅÅòòààææååððêêèè,, 1997, àêðèë, ïëàòíî, 120õ120 ñì.SShheellvveess,, 1997, acrylic on canvas, 120õ120 cm

ÏÏîîññëëååääííààòòàà èèççëëîîææááàà íà Åäìîíä Äåìèðäæèÿí å çàìèñ ëåíà èðåàëèçèðàíà ñïåöèàëíî çà ãàëåðèÿ “Äîñåâ” è òîâà ëè÷è îùå îò ïðúâïîãëåä – äîáðå íàìåðåíîòî è áàëàíñèðàíîòî ñúîòíîøåíèå ìåæäóôîðìàòèòå íà êàð òèíèòå è îáùîòî ïðîñòðàíñòâî, âóñïîêîÿâàùàòà ðèòìè÷íîñò íà îáøèðíèòå “ïóñòè” çîíè ìåæäóòÿõ, êîèòî äîïúëíèòåëíî àêöåíòèðàò è ôîêóñèðàò âíèìàíèåòîâúðõó îáðàçèòå.  òîçè ñìèñúë ïðåäñòàâÿíåòî íà àâòî ðà öåëè äàïîñòèãíå åäíà öÿëîñòíà ïëàñòè÷åñêà îðãàíèêà. Íå ñëó÷àéíîäîìèíèðà ñåðèéíèÿò ïðèíöèï íà òâîðáèòå, êîèòî ñà ïðàâåíè ïðåçïîñëåäíèòå íÿêîëêî ìåñåöà. Åòî çàùî îòäåëíèÿò æèâîïèñåí îïóñäî ãîëÿ ìà ñòåïåí ñúäúðæà èíôîðìàöèÿ çà åêñïîçèöèÿòà, à îò ñâîÿñòðàíà òðóäíî ìîæå äà áúäå îñìèñëåí èçâúí íåé íèÿ êîíòåêñò.

Îòäàâíà ñëåäÿ ðàçâèòèåòî íà Åäìîíä Äåìèðäæèÿí è ìîãà äàêîíñòàòèðàì, ÷å ñåãàøíàòà ìó æèâîïèñ å ëî ãè÷íî è çàêîíîìåðíîñëåäñòâèå íà ïðåäèøíèòå ìó äîñòèæåíèÿ. Öâåòúò ìîæå áè åïîçàãóáèë ÷àñò îò ñâîÿ òà íåïîñðåäñòâåíà ñèãíàëíà çâó÷íîñò, íî åñïå÷åëèë îòêúì ìîäóëèðàíå è âúòðåøíî òîíàëíî ðèòìèçèðàíå íàîáùàòà êîìïîçèöèîííà ïîñòðîéêà. Õóäîæíèêúò ñÿ êàø ïðèëàãàåäèí “ìåê” âàðèàíò íà àáñòðàêöèÿòà, êî ÿòî îáà÷å íåïðåñòàííîñå äâèæè ïî ðúáà íà âúçìîæíè òå ôèãóðàòèâíè àñîöèàöèè,ïîäñèëâàéêè óñåùàíåòî çà äèíàìè÷íè è åäâà ëè íå ïóëñèðàùèìåòàìîðôîçè. Çàä âèäèìàòà èìïðîâèçàöèîííà ëåêîòà èñâîáîäíàòà èãðà íà âúîáðàæåíèåòî ïðîçèðà ñîëèäíîòî è çàäúëáî -÷åíî êîìïîçèðàíå íà ðàçëè÷íèòå âàðèàíòè, êîåòî äî âåæäà äîîïòèìàëíèÿ ðåçóëòàò. Ñëåäèòå íà òîçè ïðî öåñ âïðî÷åì ìîæåì äàâèäèì â åäíà ÷àñò îò ïðåäñòà âåíèòå ïðîèçâåäåíèÿ, â êîèòîæèâîïèñíàòà òúêàí íà ïëàòíîòî âëèçà â äèàëîã ñ êîëàæíèôðàãìåíòè îò åñêèçíè ðàçðàáîòêè. Ìàêàð è ïðîòèâîðå÷èâè, ïîíåçà ìåí, êàòî õóäîæåñòâåí ðåçóëòàò, òåçè òâîðáè ñà òâúðäåèíòåðåñíè èìåííî îò ãëåäíà òî÷êà íà êîíêðåòíîòî ïðîñëåäÿâàíåíà îòäåëíèòå åòàïè íà õóäîæíè÷åñêèÿ òðóä, êîèòî èíà÷åîñòàâàò ñêðèòè çà çðèòåëÿ.

Äèðåêòíàòà åêñïðåñèâíîñò è ìàñèðàíàòà àòàêà íà ëè íèè èôîðìè, ñâîéñòâåíè íà çíà÷èòåëíà ÷àñò îò ïî-ðàííèòå ðàáîòè íààâòîðà, ñåãà ñà îòñòúïèëè ïðåä ïî-óìúäðåíàòà è ñèíòåçèðàíàîðãàíèçàöèÿ íà åëåìåíòè òå, ïðè êîåòî çíà÷èòåëíà å ðîëÿòà íàâåðòèêàëèòå è õî ðèçîíòàëèòå, ðàçïðåäåëåíè ïîíÿêîãà êàòîñâîåîáðàç íà “ìðåæà”, íà êîÿòî ñå ïðîåêòèðàò îòäåëíèòåìîòèâè. Òàçè îñîáåíîñò íà ïîñëåäíèòå êàðòèíè íà Åäìîíä Äå -ìèðäæèÿí å âàæåí ðåçóëòàò îò óïîðèòè è öåëåíàñî÷å íè òúðñåíèÿêúì ñúçíàòåëíî ðåäóöèðàíå íà èçãðàæäà ùèòå êàðòèíàòàêîìïîíåíòè.  ðàìêèòå íà èçáðàíàòà îò íåãî ïëàñòè÷íà ñèñòåìàñúùåñòâóâàò îãðîìåí, ïðàêòè÷åñêè íåîãðàíè÷åí áðîé âàðèàòèâíèâúçìîæ íîñòè, êîèòî â êðàéíà ñìåòêà îïðåäåëÿò ïàðàìåòðèòå íàáúäåùàòà ïðîãðàìíà íàñî÷åíîñò íà èçâåñòíèÿ íàø æèâîïèñåö.

×àâäàð Ïîïîâñï. Èçêóñòâî, 1997 / 43-44

ÏÏååððññîîííààææ,, 1997àêðèë, ïëàòíî, 130õ97 ñì.PPeerrssoonnaaggee,, 1997acrylic on canvas, 130õ97 cm

EEddmmoonndd DDeemmiirrddjjiiaann’’ss llaatteesstt eexxhhiibbiittiioonn was planned and created especially for Dossev Gallery. That is obvious from the very first look– a well developed and balanced relationship of canvas formats andthe entire space, a soothing rhythm of the vast ”empty” spaces between them which simply further emphasise and focus the attention onto the image. And in this sense the author’s appearanceaims to achieve one wholesome integrity of form. Hence the sequences of paintings from the past few months. It is also why theindividual painting opus to a huge extent contains the information ofthe exhibition, and on the other hand may not be interpreted outside its context.

I have been following Edmond Demirdjian’s development and I can now claim that his latest paintings are a logical and lawful consequence of his previous achievements. Perhaps the colour haslost some of its non-inhibited intensity, but it has also gained modul,internal rhythm of shade within the total construction of the composition. It is as if the artist is offering a ”light” version of the abstract which though won’t stop moving along the edge of possiblefigurative associations, enhancing the feeling of dynamic, almost pulsating metamorphosis. Behind the obvious ease for improvisationand the free play of imagination there is a solid, profound composi-tion in multitude variants leading to optimal results. And in fact thereare traces of this process in some of the exhibited works, in whichthe texture of the canvas launches into dialogue with the collagefragments of the sketch elaborations. And however controversial artistically, or at least they are to me, these works are way too interesting precisely with the point of view of each step of the artist’sprocess, which often remains hidden to the spectator.

The direct expressiveness and the massive attack of lines and form so typical of most of the author’s early works has now given way to a more profound, synthesized organisation of the elements, with a much more substantial role of the horizontal and vertical, at timesdistributed in a sort of ”network”, onto which the individual motifsare projected. This peculiarity in Edmond Demirdjian’s latest paint-ings is the result of industrious, consistent quest into the consciousreduction of components in the painting. Within the framework ofthe system he has chosen there are an enormous amount – practi-cally boundless number of variants which ultimately define the parameters of the future programme of this renowned Bulgarianpainter.

Chavdar PopovIzkustvo magazine, 1997/ 43-44

ÊÊîîííññòòððóóêêööèèÿÿ II,, IIII,, IIIIII,, 1997, àêðèë, ïëàòíî, 140õ60 ñì.CCoonnssttrruuccttiioonn II,, IIII,, IIIIII,, 1997, acrylic on canvas, 140õ60 cm

ÊÊîîììïïîîççèèööèèÿÿ ââ ññèèííüüîî,, 1997, àêðèë, ïëàòíî, 97õ130 ñì.CCoommppoossiittiioonn iinn BBlluuee,, 1997, acrylic on canvas, 97õ130 cm

ÅÅääèèíí ïïîî--ððààççëëèè÷÷ååíí ÅÅää ììîîííää ÄÄååììèèððääææèèÿÿíí íè áå ïðåäñòàâåí âãàëåðèÿ Äî ñåâ. Òàçè èçëîæáà ñÿêàø èçâåæäà åñåíöèÿòà íàïðå äèøíèòå ìó ðàáîòè. Õà ðàêòåðíèòå ñèìâîëè è ôîðìè,êîèòî òîé èçïîëç âà, ñà èçâàäåíè îò êàêúâ òî è äà áèëîíàìåê çà èëþ çîðíî ïðîñòðàíñòâî, çà äà ïðèäîáèÿò íàïúëíîçíàêî âà ñòðóêòóðèðàíîñò. Òÿ ñå äîïúëâà îò ãðóïèðàíå òîíà ãîëåìèòå íåðàìêèðàíè ïëàòíà ïî òðè.

Ïîâòîðÿåìîñòòà íà ñèìâîëè òå – âåäíúæ â ðàìêèòå íàñàìàòà êàðòèíà è âòîðè ïúò – â ïîâòîðåíèåòî íàêîìïîçèöèÿòà, íî â äðóã öâåòîâè ïîðÿäúê, ïðèäàâàñâîåîáðàçíà ðèòìèêà è ïîäðåäåíîñò íå ñàìî íà ñàìèòåðàáîòè, íî è íà åê ñïîçèöèÿòà êàòî öÿëî. Âå ðîÿòíî èìåííîðèòúì å êëþ÷îâàòà äóìà, îñîáåíî êîãàòî ãîâîðèì çà àâòîð,ïîâå÷å îò èçêóøåí â ìóçè êàòà.

Íîâî å èçïîëçâàíåòî íà íÿêàêúâ âèä êîëàæåí ïðèí öèï(âêëþ÷âàù ãðàôè÷íè è åëåìåíòè íà ïå÷àòàí òåêñò) â íÿêîèðàáîòè, êàêòî è èíòåðåñúò êúì ðàçèãðàâàíå íà ñàìîòîïà íî íà òâîðáàòà, çà öåëèòå íà êîìïîçèöèÿòà – ãåî -ìåòðè÷íè “äóïêè” â öåí òúðà íà êàðòèíàòà. Àâ òîðúò åçàïàçèë èãðîâèÿ ñè ïîäõîä êàêòî â îòíî øåíèåòî ñè êúììàòåðèà ëà è “ñþæåòà”, òàêà è êúì çðèòåëÿ. ÅäìîíäÄåìèð äæèÿí âèíàãè å èçêóøàâàë çðèòåëÿ äà òúðñè íà÷èíè äà “ðàç÷åòå” íåãîâèÿ èç ìèñëåí ñâÿò, äà îòêðèâà ïàðàëåëèòåìó â äåéñòâè òåëíîñòòà èëè ïî ïúòè ùàòà íà ôàíòàçèÿòà,äà âàéêè ìó âúçìîæíîñò çà ñâîáîäíà èíòåðïðåòàöèÿ.Ëîãè÷íîñòòà è êîíöåíòðèðàíîñòòà, ïðèñúñòâàùè â òåçèðàáîòè, ïðèâèäíî îáåùàâàò ëåñíî ðàçãàäàâà íå íà “êîäà”.Òîé îáà÷å å ïîâå÷å îò âñÿêîãà èç÷èñòåí îò ïðåêèàñîöèàòèâíè âðúçêè è îñòàâà íåðàçãàäà åì ïî ðàöèîíàëåíïúò. Êëþ÷úò å îòíîâî â êîëî ðèòà è â õàðàêòåðíàòàåê ñïðåñèâíà ñèëà, êîÿòî èìà òîé ïðè Åäìîíä Äåìèð äæèÿí.ßðúê, àêòèâåí, ïðîâîêèðàù, òîé ïðåâðú ùà çíàêà â èçðàç íàïúð âè÷íà åíåðãèÿ. Öâåòúò äîðàçêðèâà, èçÿñíÿâà, íî è â åäèíìîìåíò îáåçñìèñëÿ èíòåëåêòóàëíîòî íàïðå æåíèå îò“÷åòåíåòî”, çà äà îñòàíå ÷èñòàòà, çàâëà äÿâàùà åìîöèÿ.Äîêàçâà ãî è òúðñåíåòî íà ðàçëè÷íî âúçäåéñòâèå èìåííîïîñ ðåäñòâîì êîëîðèñòè÷íèòå âàðèàöèè íà ñõîäíèêîìïîçèöèè è ôîðìè. Âúï ðåêè àíàëèòè÷íîñòòà íà ïîäîáåíïîäõîä âíóøåíèå òî å çà àáñîëþòíà ñâîáî äà, ëåêîòà èíåïîñðåäñò âåíîñò íà èçêàçà, áëàãîäà ðåíèå èìåííî íàñèëàòà íà öâåòà.

Äåñèñëàâà Äèìîâà

â. Êóëòóðà, 4.07.1997 ã.

ÈÈííòòååððèèîîðð II,, IIII,, IIIIII,, 1997àêðèë, ïëàòíî, 100õ150 ñì.IInntteerriioorr II,, IIII,, IIIIII, 1997acrylic on canvas, 100õ150 cm

TThhiiss wwaass aa ddiiffffeerreenntt EEddmmoonndd DDeemmiirrddjjiiaann we saw at the DossevGallery. His exhibition now seems to lead from the essence of hisprevious works. Symbols and forms so typical of his works have nowbeen taken out of any hint of illusionary space to become a signstructure. It is complemented with the arrangement of non-framedcanvases in groups of three.

The recurrence of the symbols – once within the painting itself andagain in the repetition of the composition in a different coloursequence – create a feel for rhythm and order not only in theindividual works but also in the entire exhibition. And perhapsrhythm is the key word, especially with an author who is more thantempted by music.

Novelty is the collage-type principle he applies (including graphicelements and print text) in some works, as well as his interest in playingwith the mere canvas for the sake of composition – the geometric”holes” in the middle of the painting. The author has preserved hisplayful approach both in treating the material and the ”plot”, as well asthe spectator. Edmond Demirdjian has always lured the audience intolooking for ways to ”read” his make-belief world, to find its parallelrealities or go down fantasy routes full of opportunities for freeinterpretation. The logic and concentration in these works seeminglypromise an easy crack of the ”code”. But now more than ever beforethe latter has been cleared of all direct associative connections andremains unintelligible from a rational perspective. The key once again isin the colouring and the typical expressive power Edmond Demirdjianhas. Bright, active, provoking, he turns the sign into an expression ofprimal energy. The colour reveals further, explains more, but at acertain point denies the meaning of the intellectual tension of”reading”, to leave it up to pure, succumbing emotion. The proof forthis lies in the quest of the variety of influences through colourvariations of similar compositions and forms. And despite the analyticalinclination of this approach, the message clearly comes through asabsolute freedom, ease and sincerity of expression, and mainly due tothe power of colour.

Dessislava DimovaKultura newspaper, 4.07.1997

>>ÊÊîîëëààææ II,, IIII,, IIIIII,, IIVV,, 1997, õàðòèÿ, 30õ40 ñì.CCoollllaaggee II,, IIII,, IIIIII,, IIVV,, 1997, paper, 30õ40 cm

ÅÅääììîîííää ÄÄååììèèððääææèèÿÿíí èçáèðà ãðàíèöàòà ìåæäó îáðàçà èñëîâîòî, çà äà îòïðàâè ïîñëàíèåòî ñè êúì ïóáëèêàòà ñîòêðèòàòà íà 3 àïðèë â ãàëåðèÿ “Àëåêñàíäúð” èçëîæáà“Éåðîãëèôè”.

Åêñïîçèöèÿòà âêëþ÷âà ïîñëåäíèòå òâîðáè íà õóäîæíèêà.Ñðåä òÿõ ñà “Àçáóêà”, “Ïúòóâàíå”, “Ñúíÿò íà ñàìóðàÿ”,“Òîàëåòúò íà ãåéøàòà”, “Ñêðèòî æåëàíèå”,“Ãîòîâíîñò”, “Ñàìî÷óâñòâèåòî íà âîèíà”, “Èãðà÷êè çàâúçðàñòíè”. Ïî åäèí éåðîãëèô å â îñíîâàòà íàêîìïîçèöèÿòà íà âñÿêà òâîðáà. “Ñèíüîòî”, “Ñêðèòîòîæåëàíèå”, èçãðàäåíîòî ÷ðåç ñèíüî-æúëò äèñîíàíòåíêîíòðàñò “Ïúòóâàíå” èçäàâàò ñêëîííîñòòà íàõóäîæíèêà äà âïëèòà â ïëàòíàòà ñè è ñåìàíòèêà íàöâåòà. Öâåòúò ñå ñâúðçâà ñìèñëîâî ñ îáðàçà, à îáðàçúòèçãðàæäà éåðîãëèô. Èãðàòà íà ôîðìèòå å îòïðàâåíî êúìçðèòåëÿ ïðåäèçâèêàòåëñòâî äà ñå â÷åòå â îáðàçà,çàãàòíàò îò çàãëàâèåòî è äà äîñòèãíå äî ñúùíîñòòà. Àñúùèíàòà Äåìèðäæèÿí “çàêëþ÷âà” â ñú÷åòàíèåòî íààáñòðàêòíàòà èçðàçíîñò ñ êðàñîòàòà íà ôîðìà, ëèíèÿ,öâÿò è äâèæåíèå.

 òâîðáèòå ìó ñå äîëàâÿò îòïðàòêè êúì ñþððåàëèçìà,êúì áèîìîðôíèòå ñòðóêòóðè íà Õóàí Ìèðî, íîïðå÷óïåíè ïðåç ïîãëåäà íà áóåí è òåìïåðàìåíòåíòâîðåö, çà êîãîòî ðèòúìúò è ÷èñòàòà, “çàðåæäàùà”çâó÷íîñò íà öâåòà ñà íà÷èí íà ìèñëåíå. Åíåðãèÿ, áëèêàùàåìîöèîíàëíîñò, êîíòðàñò è èíòåíçèâíà öâåòíîñòïðèñúñòâàò âúâ âñÿêî îò ïëàòíàòà íà Äåìèðäæèÿí. Òîéèçïîëçâà “ôîðìóëàòà” íà èçòî÷íàòà ìúäðîñò è îòðàçÿâàäèíàìèêàòà íà âðåìåòî, â êîåòî æèâååì, êàòî ïðàâèòîâà ñ êîïíåæ ïî áàëàíñà, ïî òúé òðóäíîòî äíåñïîñòèãàíå íà ìÿðêàòà è “÷îâåøêèÿ” ìàùàá. Éåðîãëèôúòçà íåãî å ñèíòåçèðàí â èçêàç íà õàðìîíèÿòà. Òîé ñòàâàîñíîâà, êîÿòî ñâúðçâà êîíêðåòíîòî ñ îáùîòî, ðåàëíîòîñ “íàäðåàëíîòî”, âúíøíèÿò èçðàç ñ âúòðåøíàòàñòðóêòóðà. Ãëàäêà ïîâúðõíîñò, ÷èñò öâÿò, îáìèñëåíàêîìïîçèöèÿ, îãúâàùà ñå, ïúëíà ñ åêñïðåñèÿ ëèíèÿ ñàïúòÿò, ïî êîéòî Äåìèðäæèÿí ïîñòèãà åäèíñòâî ïðèâúçïðèåìàíå íà êàðòèíàòà êàòî öÿëî. Äâèæåíèåòî åâúòðåøíî ïðèñúùî íà òâîð÷åñêàòà ìó ïðèðîäà.Õóäîæíèêúò, êîéòî îñâåí â öâåòà òúðñè ìóçèêàòà è âðèòúìà íà áàðàáàíèòå, ïðåäëàãà â ïëàòíàòà ñèïúòóâàíå, êîåòî òðúãâà îò õàîñà è ñòèãà äî âúòðåøåíðåä íà ôîðìà, áàãðà è îùå íåùî... Òîé ïîãëåæäà “çàä”ïîâúðõíîñòòà íà íàøåòî âðåìå è îòðàçÿâà âèäÿíîòî âçíàê. Çíàê, êîéòî ñå îãëåæäà â ñîáñòâåíàòà ñè ñúùíîñòè ñå ïðåâðúùà â îáðàç.

Äàíèåëà ×óëîâàâ. Êóëòóðà, 14.04.2000

ÊÊîîììïïîîççèèööèèÿÿ ññ ééååððîîããëëèèôô, 2000 àêðèë, ïëàòíî, 73õ60 ñì.CCoommppoossiittiioonn wwiitthh HHiieerrooggllyypphhss, 2000acrylic on canvas, 73õ60 cm

EEddmmoonndd DDeemmiirrddjjiiaann chooses the borderline between image andspeech to address the audience with his new exhibition Hieroglyph-ics which opened on 3 April at the Alexander Gallery.

The artist’s latest works can be seen there - ”Alphabet”, ”Travel”,”The Dream of the Samurai”, ”Putting a Face On – a Geisha”,”Secret Craving”, ”Ready”, ”The Warrior’s Confidence”, ”Toys forAdults” among others. Each work’s composition is based on a certainhieroglyphic. ”The Blue”, ”Secret Craving”, the bluish-yellowdissonant contrast in ”Travel” reveal the artist’s inclination to weavethe semantics of colour into his canvases. Colour combinessemantically with image, and images are what hieroglyphics aremade of. In a game of forms the artist challenges the public to readthe image of which the title hints and then to reach the essence. AndDemirdjian ”locks” the essence into a mix of abstract expression andthe beauty of form, line, colour and movement.

His works make distant references to surrealism, the biomorphicstructures of Juan Miro, but reflected through the eyes of a wild,temperamental artist for whom the rhythm and pure, ”charging”sound of colour are simply a way of thinking. Energy, explosiveemotion, contrasts and intense colour are part of every Demirdjiancanvas. He reaches out to the ”formula” of the wisdom of the Eastand reflects the dynamics of our contemporary world by cravingfor balance, striving to achieve the right measure and a ”human”dimension. To him the hieroglyphic is a synthesised statement ofharmonics. It is what links the concrete with the generic, the realwith the surreal, the the external expression with the internalstructure. A smooth surface, a pure colour, a plannedcomposition, a line bending along the way, full of expression –this is how Demerdjian achieves the integrity of his paintings. Themovement is internal and it is typical of his artistic nature. Theartist who seeks for musicnot only in colour but alsoin the rhythm of the drums,takes one on a journeywith his canvases, startingfrom chaos and leading tointernal order of form,colour and somethingelse... He looks ”behind”the surface of our timeand reflects itsymbolically. A symbolwhich looks back into itsown self and becomes animage.

Daniela ChulovaKultura newspaper, 14 April 2000

ÊÊîîëëààææ II,, IIII,, 2001êîëàæ, õàðòèÿ, 65õ50 ñì.CCoollllaaggee II,, IIII,, 2001collage on paper, 65õ50 cm

ÌÌîîððññêêèè ïïååééççààææ II,, 2003àêðèë, ïëàòíî, 90õ80 ñì.MMaarriinnee LLaannddssccaappee II,, 2003acrylic on canvas, 90õ80 cm

ÏÏððååääèè ííÿÿêêîîëëêêîî ããîîääèèííèè áÿõ ïèñàëà çà Åäìîíä Äåìèðäæèÿí, ÷å åõóäîæíèê, êîéòî ñå äâèæè ïî “îñòðèåòî íà áðúñíà÷à” – òîéóñïÿâàøå äà áàëàíñèðà òâúðäå óñïåøíî ìåæäó æèâîïèñòà çàóäîâîëñòâèå è íàñëàäà, è ãîëÿìîòî èçêóñòâî. Ñïîðåäòîãàâàøíèòå íè çàêîíîìåðíî íàèâíè ïðåäñòàâè òîâà áÿõà íåñàìî ðàçëè÷íè, íî äîðè ïðîòèâîïîëîæíè íåùà. Ñâèêíàëèáÿõìå äà ìèñëèì, ÷å ãîëÿìîòî Èçêóñòâî å ãîëÿìî è êàòîðàçìåðè, íàòîâàðåíî ñ íåãàòèâíè åìîöèè, ñâúðçàíî ñåêñïðåñèâíà îáðàçíîñò è áèòóâàùî åñòåñòâåíî ñàìî âèçëîæáåíèòå çàëè – ò.å., ñ íåãî íå ìîæåø äà ñúæèòåëñòâàø âèíòèìíà äîìàøíà îáñòàíîâêà è, ñëåäî âàòåëíî, òî åíåïðîäàâàåìî. Êàìåðíîñòòà â “çîðàòà íà äåìîêðàöèÿòà”ïðåäèçâèêâàøå ñúìíåíèÿ è ðåçåðâè. Âðåìåòî áåøå ôîðìè ðàëîïðèáëèçèòåëíî ñëåäíàòà ïðåäñòàâà çà òîçè òèï æèâîïèñ:ìàëêè ðàçìåðè, äåêîðà òèâíîñò, áàçèðàíà íà àáñòðàêòíàîáðàç íîñò è ïðèÿòåí çà îêîòî êîëîðèò.

Åäìîíä Äåìèðäæèÿí çàå ñâîåòî îñîáå íî ìåæäèííî ìÿñòîîùå â íà÷àëîòî íà 80-òå ãîäèíè. Ðàçáèðà ñå, òîãàâà çà“æèâîïèñ çà íàñëàäà” è äóìà íå ìîæåøå äà ñòàâà. Äåëåíèåòîáåøå ìåæäó ðèñóâàùèòå “àíãàæèðàíè” (èñòîðè÷åñêè,

èäåîëîãè÷åñêè, ñîöèàëíè) êàðòèíè è õóäîæíèöèòå ñúñ ñâîéíåóòðàëåí (ïåéçàæè, íàòþðìîðòè, àáñòðàêòíè êîìïîçèöèè)òåìàòè÷åí êðúã. Åäìîíä Äåìèðäæèÿí áå ïî-ñêîðî îòâòîðèòå, íî ïîëçâàéêè åëåìåíòè è îò àáñòðàêòíàòà, è îòåêñïðåñèâíàòà òðàäèöèÿ, òîé óñïÿâàøå äà ïîñòèãíåñâîåîáðàçíà äâóñìèñëåíîñò (èëè ìíîãîñìèñëåíîñò) íàèçîáðàæåíèåòî. Êàðòèíèòå ìó ìîæåõà äà ñå “ïðî÷åòàò” èêàòî íåóòðàëíè íàòþðìîðòè, è êàòî äðàìàòè÷íèåêçèñòåíöèàëíè ðàçìèøëåíèÿ ñ íþàíñ íà ìàëêî ìðà÷íà èðîíèÿ. Òî÷íî çàòîâà è ïðåõîäúò êúì àðòèñ òè÷íà ñâîáîäà âíà÷àëîòî íà 90-òå ãîäèíè çà Åäìîíä Äåìèðäæèÿí íå áåäðàìàòè÷åí, íèòî ìú÷èòåëåí êàòî ïðè ïîâå÷åòî“àíãàæèðàíè” â ìèíàëîòî õóäîæíèöè. Òîé íå ñå íóæäàåøåíèòî îò íîâà “òîíàëíîñò”, íèòî îò “ïðåàðàíæèðàíå”.Ñïîìåíàâàì òîâà çàðàäè äðóãàòà, íå ïî-ìàëêî âàæíà ñòðàíàîò íåãîâàòà òâîð÷åñêà ëè÷íîñò – áàðàáàíèòå. Ìóçèêà èæèâîïèñ ïðè íåãî êàòî ÷å ëè ïðåëèâàò åäíà â äðóãà, âçàèìíîñå ðàçâèâàò, äîïúëâàò ñå äî ñòåïåí íà íåäåëèìîñò. Åäíàîáùà õóäîæåñòâåíà èäåÿ ñå äâèæè ñâîáîäíî â òåçè äâå ñôåðèíà èçêóñòâîòî, íåçàâèñèìî êîÿ îò òÿõ ÿ å ãåíåðèðàëà.Äîòàì, ÷å ìóçèêàòà ìîæå äà ñå ãëåäà, à æèâîïèñòà äà ñåñëóøà.

Íåñúìíåíî ïðåáèâàâàíåòî íà õóäîæ íèêà â ÑÀÙ èçèãðàðîëÿòà íà êàòàëèçàòîð è â äâåòå ïîñîêè. Íîâèòå ìóêàðòèíè, ïîêàçàíè ó íàñ ïðåç ìèíàëàòà ãîäèíà, îïðåäåëåíîîáîñîáÿâàò “àìåðèêàíñêè” ïåðèîä â òâîð÷åñòâîòî ìó. Âòÿõ ëè÷è îñâîáîäåíîñò è ðàçìàõ, ðàçãúðíàëà ñå åíåðãèÿ,íåïîäîçèðàíà èëè ïúê ñòàÿâàíà ïðåäè. Äîðè è ðàçìåðèòå ñàäðóãè: êàìåðíèòå òâîðáè ñà îòñòúïèëè ìÿñòî íà êàðòèíèãîëÿì ôîðìàò. (Òóê ìîæå äà ñå ïîðàçñúæäàâà çà íàøàòàìàðãèíàëíîñò èëè ïúê çà òåîðèÿòà, ÷å ðàçìåðúò íàäúðæàâàòà ôîðìèðà è ñúîòâåòíèÿ òèï ìèñëåíå ó õîðàòà).Ïðè âñåêè ñëó÷àé äîðè è òîçè ôîðìàëåí áåëåã å îò çíà÷åíèå.Ïðîìåíèëè ñà ñå è êîëîðèòúò, è îáðàçíèÿò ñòðîé. ßðêè èçâó÷íè öâåòîâå èçãðàæäàò âåñåëè êîìïîçèöèè îòïðè÷óäëèâè ñúùåñòâà èëè ôðàãìåíòè îò òÿõ.Àìåáîïîäîáíè ôàíòàçíè æèâîòèíêè ùúêàò íàñàì-íàòàì,ïúëçÿò, ëåòÿò, ñêóï÷âàò ñå èëè âíåçàïíî ñå ðàçïðúñêâàò,“óïëàøåíè” îò ðååù ñå íîñ, îêî èëè ïúê âàçà. Ñòðàíåí ñâÿò,íî áåçêðàéíî ïðèâëåêàòåëåí. È îòíîâî â íåãî èìà âñè÷êî çàâñåêè. Çðèòåëÿò ìîæå ïðîñòî äà ñå ëþáóâà íà ðèòìèêà,äâèæåíèå, ôîðìè è öâåòîâå. À ìîæå äà ãè ïðèâèäè è êàòî“çíàöè” è äà ñå çàðîâè â ìíîãîâåêîâíèòå èì ïðàîáðàçè,ñìèñëè è ôóíêöèè.

Âñúùíîñò Åäìîíä Äåìèðäæèÿí å ïðåâúðíàë “îñòðèåòî íàáðúñíà÷à” â äîñòà øèðîê ñâîé ïúò â ñúâðåìåííîòî èçêóñòâî.

Äèàíà Ïîïîâàñï. Ìîäà, 1997 / 9

ÌÌîîððññêêèè ïïååééççààææ IIII,, 2003, àêðèë, ïëàòíî, 90õ80 ñì.MMaarriinnee LLaannddssccaappee IIII,, 2003, acrylic on canvas, 90õ80 cm

ÌÌîîððññêêèè ïïååééççààææ IIIIII,, 2003, àêðèë, ïëàòíî, 90õ80 ñì.MMaarriinnee LLaannddssccaappee IIIIII,, 2003, acrylic on canvas, 90õ80 cm

AA ffeeww yyeeaarrss aaggoo I wrote about Edmond Demidjian describinghim as an artist who walks down ”the edge of a razor”. Hemanaged quite successfully to balance between painting forthe sake of pleasure and enjoyment, and art in the big sense.According to our inevitably naive ideas of those days, thesewere not merely different, but in fact quite opposite things.We were used to thinking that Art is necessarily big in size,that it bears negative emotion, that it must containexpressive imagery and naturally can only exist in theexhibition hall – i.e. it could not be an intimate companionat home, and therefore it was impossible to sell. Small formsin the ”dawn of democracy” gave reason for doubt. Timehad more or less constructed the following image of thistype of art – it is small in size, decorative, based on abstractimagery and pleasant colours to the eye.

Edmond Demirdjian found his special in-between placeeven in the early 1980-s. Of course in those days there wasno thinking of ”art for pleasure’s sake”. The distinctionsmade then were between ”engaged” works (historic plots,ideological, social), and then there were the artists with aneutral thematic focus (landscapes, still-lives, abstractcompositions). Edmond Demirdjian was mostly in thesecond category, though drawing elements from both theabstract and expressive traditions he managed to achievecertain ambiguity (or multiple meanings) in his paintings.They could be ”read” just as well as neutral still-lives ordramatic existential pondering with nuances of grim irony.

And that was exactly why the transition to artistic liberty inthe beginning of the 1990s was not at all dramatic forEdmond Demirdjian. Nor was it a torture as it was for mostof the former ”engaged” artists. He did not need a new”tonality”, nor did he need to ”rearrange”. I am onlybringing this up because of that other and by no means lessimportant side to his artistic personality – the drums. Musicand painting seemed to merge with him, each developingthe other, complementing it to the verge of inseparability.One common artistic idea freely wandering in both artforms, irrespective of which originally generated it. To theextent that music can be watched and painting can beheard.

There is no doubt that the artist’s stay in the US was thecatalyst in both directions. The paintings he showed last yeardefinitely identify an ”American” period in his work. Thereis a freedom about them and a scope, unsuspected energy(or had it been subdued?). Even the size is different – thesmall formats have given way to large canvases. (Here issome food for thought on our marginality or else the theorythat the size of the country is formative of people’s

ÍÍààòòþþððììîîððòò ññ ææúúëëòòàà ääèèííÿÿ,, 2004 àêðèë, ïëàòíî, 50õ65 ñì.SSttiillll LLiiffee wwiitthh YYeellllooww WWaatteerr--mmeelloonn, 2004acrylic on canvas, 50õ65 cm

attitudes.) In any case even this formal trait matters. There is achange in colour and imagery. The bright, loud colours make upmerry compositions of curious creatures or fragments of them.Amoeba-like imaginary bugs are all over the place, crawling,flying, huddling, or suddenly spreading, ”scared” of a roamingnose, or eye, or even vase. A strange world, but one that is by farvery attractive. And again there is something for everyone in it.The spectator can simply enjoy the rhythm, the movement, theforms and colours. Or may look for the ”signs” in them and startdigging into the many centuries of proto-images, meanings andfunctions.

In fact Edmond Demirdjian has turned ”the edge of the razor” intoquite a wide road of his own in contemporary art.

Diana PopovaModa magazine, 1997 /9

ÀÀððëëååêêèèíí II,, IIII,, IIIIII,, 2003, àêðèë íà ïëàòíî, 90õ80 ñì.HHaarrlleeqquuiinn II,, IIII,, IIIIII,, 2003, acrylic on canvas, 90õ80 cm

ÑÑååððèèÿÿ ““ÐÐèèááèè””,, 2004àêðèë, ïëàòíî, 90õ80 ñì.SSeerriieess ””FFiisshh””,, 2004acrylic on canvas, 90õ80 cm

ÀÀððììååííññêêààòòàà ööúúððêêââàà ìîæå è äà å íàé-ñòàðàòà, íî ðèáèòå íàÅäìîíä Äåìèðäæÿí íÿìàò ìíîãî îáùî ñ áèáëåéñêèÿ ñèìâîë.Íåùî ïîâå÷å, òîé ñÿêàø ãè ðèñóâà, çà äà ãè èçìúêíå îòäúëáèíèòå íà ñèìâîëèêàòà âúîáùå, êúäåòî êóëòóðàòà ãè åïîñòàâèëà è íå òè ïîçâîëÿâà è äà ñè ïîìèñëèø, ÷å ìîæåø äàâèäèø ïðîñòî ðèáà. Âìåñòî âå÷íîñò, çàùîòî ìúë÷è. Âìåñòîìúäðîñò, çàùîòî ñòèãà äî äúíîòî. Âìåñòî îáíîâëåíèå, çàùîòîòó ïîòúâà, òó èçïëóâà íà ïîâúðõíîñòòà. Âìåñòî ïëîäîðîäèå,çàùîòî ÿéöàòà é ñà áåçáðîéíè. Âìåñòî ôàëîñ, çàùîòî ôîðìàòàé ãî íàïîìíÿ. Âìåñòî õàîñ, çàùîòî ãëàâàòà è òÿëîòî é ñà

íåðàç÷ëåíèìè. Âìåñòî õðèñòèÿíèí, çàùîòî èòîé ñå ðàæäà îò âîäàòà (íà êðúùåíåòî).Âìåñòî ñàìèÿò Õðèñòîñ, çàùîòî ãðúöêàòàäóìà çà ðèáà “èõòþñ” ñå âúçïðèåìà êàòîèäåîãðàìà íà “Èñóñ-Õðèñòîñ, Ñèí íà Áîã,Ñïàñèòåë”. Òîçè ñïèñúê ìîæå äà ïðîäúëæèäúëãî, íî ñàìî êîëêîòî äà óïîìåíå êàêâî îùåíå ñà ðèáèòå íà Äåìèðäæÿí. Çàùîòîíåãîâîòî àðòèñòè÷íîòî ïîñÿãàíå äàâà ñìèñúëíà íåùàòà, áåç äà ãî âçèìà îò íåùî äðóãî. Íåèãðà íà “÷åðíèÿ ïàçàð” íà çíà÷åíèÿòà.

 àâòîáèîãðàôè÷íàòà ñè êíèãà “Äà óëîâèøãîëÿìàòà ðèáà” ðåæèñüîðúò Ëèí÷ òâúðäè, ÷å“Èäåèòå ñà êàòî ðèáèòå” è ñúâåòâà: “àêîèñêàòå äà óëîâèòå ãîëÿìà ðèáà, òðÿáâà äàâëåçåòå íàäúëáîêî.  äúëáîêîòî ðèáèòå ñà ïî-ñèëíè è ïî-èñòèíñêè. Òàì òå ñà îãðîìíè èàáñòðàêòíè. È ìíîãî êðàñèâè”. Äîðè äà å÷óâàë òîçè ñúâåò, Äåìèðäæÿí ãî ïðåîáðúùà âêàðòèíèòå ñè. Çà äà ðàçáåðåø êîëêîàáñòðàêòíà è êðàñèâà å åäíà ðèáà, òðÿáâà äàÿ èçâàäèø â ïëèòêîòî, êîãàòî äúíîòî ñå åïðèáëèæèëî è âå÷å íå å ãðàíèöà ìåæäóñâåòîâåòå, íå áåçäíà è íåïðîíèöàåìîñò, à å

çàïî÷íàëî äà îòðàçÿâà ñâåòëèíàòà. Ïðîñòî õóäîæíèêúò íåèñêà äà ëîâè ðèáà, à ñàìî äà ÿ âèäè, äà ÿ ïðåâúðíå â äàð çàïîãëåäà, äà ñëåå ñèíüîòî íà î÷èòå (îòâúä ëåùèòå) ñ îíîâà íàìîðåòî (îòâúä õîðèçîíòà) è íà íåáåòî (îòâúä îáëàöèòå). Ïúêè çà íåãî ðèáèòå íå ñà èäåè.  íàé-äîáðèÿ ñëó÷àé ñà ñïîìåíè:Ñîçîïîë, ìåñòíà áîõåìà, Àçíàâóð, ïèÿíè ðèáàðè, îáëàöè, íî îòìàñòèêà è ìåíòà – 1:1, ÷åõêèíè, Ìîíìàðòúð, äæàïàíêè, ìîêðèêîñè, ñòåãíàòè äóïåòà, ñåêñ ìåæäó íåïîçíàòè, ìèðèçìà íà ñÿðà,çàìúöè îò ïÿñúê, îáåùàíèÿ, æàëóçè (ðåâíîñò), áåçòåãëîâíîñò�Âñè÷êî å âñå òàì – â ðèáèòå íà Åäè, ñòàíàëî å ïîä çâóöèòå íàáàðàáàí ñíîï îò öâåòîâå – òèïè÷åí ïðîäóêò íà êóëòóðàòà íàñâîáîäíîòî âðåìå, øàðåíà âàêàíöèÿ, íî íå ïðåç òîâà, à ïðåçìèíàëîòî ëÿòî, çà äà ìîæå ñâîáîäàòà äà íå çàâèñè îòâðåìåòî. Çàùîòî èíà÷å êàêâà òè ñâîáîäà?

Ãåîðãè Ëîçàíîâþëè 2007

ÑÑååððèèÿÿ ““ÐÐèèááèè””,, 2004àêðèë, ïëàòíî, 90õ80 ñì.SSeerriieess ””FFiisshh””,, 2004acrylic on canvas, 90õ80 cm

TThhee AArrmmeenniiaann CChhuurrcchh may be one of the oldest but EdmondDemirdjian’s fish have nothing to do with the biblical symbol.What is more, he seems to be painting them in order to withdrawthem from the depths of symbolism itself where culture has placedthem hardly even letting you think that what you see may just be afish. Instead of eternity, since it is silent. Instead of wisdom, since itreaches the very depths. Instead of re-genesis, since at one mo-ment it sinks and at another it swims back to the surface again. In-stead of fertility, since its eggs are innumerous. Instead of a phallus,since its shape reminds you of that. Instead of chaos, since its headand body are inseparable. Instead of a Christian,since Christians are also born in the water (ofbaptism). Instead of Christ himself, since theGreek word for fish – ichtius – is perceived as anideogram of “Jesus Christ, the son of God, Sav-iour”. This could make a long list but just to namewhat else Demirdjian’s fish are not. For his artisticapproach gives meaning to things without takingit out from something else. He doesn’t speculatewith the “black market” of meanings.

In his autobiography Catching The Big Fish DavidLynch claims that “Ideas are like fish” and advisesthat “if you want to catch a big fish, you have togo deeper. In the deep fish are stronger and morereal. There they are huge and abstract. And verybeautiful”. Even if he has heard this advice,Demirdjian interprets it quite the opposite in hispaintings. Trying to comprehend how abstractand beautiful a fish is you have to pull it out inthe shallow just at the point where the bottomhas come closer and is no longer a borderline be-tween the worlds or an abyss of imperviousnessbut has started to reflect the light. It is just thatthe artist doesn’t want to catch the fish but onlysee it, turn it into a gift for the sight and blend the blue of the eyes(beyond the lenses) with the blue of the sea (beyond the horizon)and the blue of the sky (beyond the clouds). Moreover, to him fishare not ideas. In the best of cases they are memories: the town ofSozopol, the local bohemians, Aznavour, drunken fishermen,clouds – that strange 1:1 mixture of mastic brandy and mintliqueur, Check women, Montmartre, flip-flops, wet hair, tightbutts, sex between strangers, the stink of sulphur, sandcastles,promises, Venetian blinds (jealousy), weightlessness � You can findit all there – in Eddie’s fish, a bunch of colours accompanied by adrum beat, a typical product of the culture of leisure time, abrightly coloured holiday, not this but last summer so that freedomdoes not depend on time. Otherwise what freedom are we talkingabout?

Georgi LozanovJuly 2007

ÑÑååððèèÿÿ ““ÐÐèèááèè””,, 2004, àêðèë, ïëàòíî, 90õ80 ñì.SSeerriieess ””FFiisshh””,, 2004, acrylic on canvas, 90õ80 cm

ÈÈííòòååððèèîîðð ññ ððèèááàà,, 2005, àêðèë, ïëàòíî, 73õ60 ñì.IInntteerriioorr wwiitthh aa FFiisshh,, 2005, acrylic on canvas, 73õ60 cm

ÁÁîîããààòò óóëëîîââ,, 2005, àêðèë, ïëàòíî, 81õ65 ñì.BBoouunnttyy CCaattcchh,, 2005, acrylic on canvas, 81õ65 cm

ÅÅääììîîííää ÄÄååììèèððääææèèÿÿíí åå ççààááååëëååææèèòòååëëííàà, íî î÷åâèäíî íåäîîöåíåíà êîíñòàíòà â ïðîñòðàíñòâîòî íà áúëãàðñêîòî èçêóñòâî. Òîé å “íàé-íåîáâúðçàíèÿò” èñàìîñòîÿòåëåí õóäîæíèê, êîãîòî ïîçíàâàì, è íàé-íåçàâèñèìàòà ëè÷íîñò,êàêâàòî ìîæå äà ïðîèçâåäå ñúâðåìåííàòà íè êóëòóðíà ñèòóàöèÿ. Òîé å âñåîùå ïîâå÷å èçâåñòåí êàòî æèâîïèñåö è áúðç ïëîäîâèò ðèñóâà÷, ìàêàð ïðåçïîñëåäíèòå ãîäèíè ïðîôåñèîíàëíèòå ìó èçÿâè íà ìóçèêàíò � áàðàáàíèñò èïåðêóñèîíåí èìïðîâèçàòîð, äà äîñòèãàò ïî÷òè ñúùàòà ïóáëè÷íîñò.Ïîêàçàòåëíî å, ÷å èìåííî å õóäîæíèê è ìóçèêàíò åäíîâðåìåííî, è òî áåç äà ñåïðèáÿãâà êúì êàâè÷êè ïðè èçïîëçâàíåòî è íà äâåòå îïðåäåëåíèÿ.Íåâåðîÿòíàòà åíåðãèÿ íà ëè÷íîñòòà Äåìèðäæèÿí ïðîïèâà ïëàòíàòà èìóçèêàòà ìó, êîèòî ñà ðîäåíè äà ìîòèâèðàò è ñòèìóëèðàò ÷îâåøêàòàåìîöèîíàëíîñò è äà íè îòâàðÿò êúì ïúëíîöåííî âúçïðèÿòèå íà ñâåòà. Òå ñà â àáñîëþòåí àíòàãîíèçúì ñúñ ñåòèâíàòà ñëåïîòà è ãëóõîòà, ïîáåäåíè îòñòðàñòåí õàðàêòåð è âÿðà â ñèëàòà íà èçêóñòâîòî.

Æèâîïèñòà íà Åäìîíä å èçêóñòâî íà öâåòîâå è ôîðìè, ñïîåíè â äîáðåñòðóêòóðèðàíè êîìïîçèöèè. Íåïîäâëàñòíè ñà íà ìîíîòîííî-íàðàòèâíîèíòåðïðåòèðàíå è âúâ âðåìå, êîãàòî õóäîæåñòâåíèòå èçëîæáè ñàïðåíàñèòåíè îò òåêñòîâå, àïåëèðàò êúì ãëåäàíå. Êîëêîòî è ïàðàäîêñàëíî äàçâó÷è, Äåìèðäæèÿí å ðåàëèñò, íî íÿìàì ïðåäâèä íàïîäîáèòåëíîòîïîâòàðÿíå íà âå÷å ñúùåñòâóâàùè îáðàçè è ôîðìè. Êîëêîòî ïî-âíèìàòåëíî ñåðàçãëåæäàò êàðòèíèòå ìó, òîëêîâà ïî-èíòåðåñíî ñòàâà ðàçãàäàâàíåòî íàâèçóàëíèòå àðõåòèïè, ñ êîèòî âñåêèäíåâíî áîðàâè àâòîðúò. Îùå åäíîçàäúëæèòåëíî óìåíèå íà æèâîïèñåöà – èçãðàæäàíåòî íà ïðîñòðàíñòâî, ïðèÅäìîíä å óñëîæíåíî îò îòêàç ñïðÿìî òðèèçìåðíèÿ íàòóðàëèçúì â ïîëçà íàóñëîâíàòà êîëîðèñòè÷íà äúëáî÷èíà, ïîçâîëÿâàùà êàðòèíàòà äà ñòàíåïîäîáíà íà ðåëåô. Åêñïðåñèâíîòî æèâîïèñâàíå å ñú÷åòàíî ñ õàðàêòåðåíãðàôèçúì, ïðîèçõîäúò íà êîéòî ìîæå äà ñå ïðîñëåäè îùå îò êóáèñòèòå èëþáèìèÿ íà õóäîæíèêà Ïèêàñî äî àìåðèêàíñêàòà æèâîïèñ íà “öâåòíèòåïîëåòà”. Òàçè ñïåöèôè÷íà ñõåìàòèçàöèÿ ïîçâîëÿâà âñåêè ïúò çàâðúùàíå êúìôèãóðàòèâíîñòòà áåç çàãóáà íà åìîöèîíàëíèòå ñìèñëè, ïîðîäåíè îò îïèòàíà àáñòðàêöèÿòà. Åêñïðåñèÿòà è ÷óâñòâåíîñòòà, ïîä÷èíåíè íàêîìïîçèöèîííàòà “èíòðèãà” íå ñà ñâèäåòåëè íà áåçîòãîâîðíîòî ñïîíòàííîñåáåèçðàçÿâàíå, à ðåçóëòàò íà òâîð÷åñêà äèñöèïëèíà, èçñëåäâàùà èîãðàíè÷àâàùà áàçèñíèòå ôèçèîëîãè÷åñêè/òâîð÷åñêè èìïóëñè, ñ êîèòî çàïî÷âàìèñëåíåòî.

Ðàáîòèòå íà Äåìèðäæèÿí ñúóìÿâàò äà ïðèñúñòâàò â ìíîãî è ðàçëè÷íèàðõèòåêòóðíè ñèòóàöèè, êúäåòî íå ñàìî ïðèâëè÷àò âíèìàíèå, îêàçâàò ñåöåíòúð íå òîëêîâà íà ñàìèòå èíòåðèîðè, êîëêîòî ãåíåðàòîðè íà ïîçèòèâíèåìîöèîíàëíè ñúñòîÿíèÿ. Èìåííî òå îôîðìÿò “èíòåðèîðíèÿ” õàðàêòåð.  èçâåñòåí ñìèñúë íå ñòàâàò íèêîãà “åëåìåíò îò ïðîñòðàíñòâîòî”, àíàñòîÿâàò íà ñîáñòâåíàòà ñè ðàçïîçíàâàåìà èíäèâèäóàëíîñò.

 èñòîðè÷åñêè ïëàí, äîêîëêîòî ìîæåì äà ñè ïîçâîëèì ïîäîáíè îöåíêè,æèâååéêè â ñúâðåìèåòî íà õóäîæíèêà, Åäìîíä Äåìèðäæèÿí èìà ìíîãî âàæíîìÿñòî â áúëãàðñêîòî èçêóñòâî. Áåç íåãî ïåéçàæúò ìó áè áèë äîñòà ïî-ìîíîòîíåí è åäíîîáðàçåí â ñâîÿòà òèïè÷íîñò.

ßðà Áóáíîâà2007

ÊÊîîììïïîîççèèööèèÿÿ II,, 2005, àêðèë, ïëàòíî, 130õ110 ñì.CCoommppoossiittiioonn II,, 2005, acrylic on canvas, 130õ110 cm

ÊÊîîììïïîîççèèööèèÿÿ IIII,, 2005, àêðèë, ïëàòíî, 130õ110 ñì.CCoommppoossiittiioonn IIII,, 2005, acrylic on canvas, 130õ110 cm

ÊÊîîììïïîîççèèööèèÿÿ IIIIII,, 2005, àêðèë, ïëàòíî, 130õ110 ñì.CCoommppoossiittiioonn IIIIII,, 2005, acrylic on canvas, 130õ110 cm

EEddmmoonndd DDeemmiirrddjjiiaann iiss aa rreemmaarrkkaabbllee, yet obviously not fullyacknowledged constant in Bulgarian art. He is the most ”unattached” andself-reliant artist I know and also the most independent individual ourcurrent cultural environment could produce. He is still better known as anartist and a swift and prolific painter of pictures, though in the past fewyears his professional work as a musician, more particularly as a drummerand improvising percussionist brought him almost as much publicity. The fact that he is both an artist and a musician in the true sense of thosewords speaks for itself. The incredible energy of this individual penetratesevery bit of his canvases and his music which were born to motivate andstimulate human emotionality and prompt us to open up to a meaningfulperception of the world. There is total antagonism between his art andspiritual blindness and deafness, the latter being defeated by a passionatepersonality and faith in the power of art.

Edmond’s art of painting is characterized by colours and shapes thatcome together in well-structured compositions. It cannot be subjected tomonotonous narrative interpretation. In a time when art exhibitions arefull of too much text, his works insist on being viewed. Howeverparadoxical it may sound, Demirdjian is a realist, which does not meanthat he replicates existing images and forms. The closer you look at hispaintings, the more interesting it is to solve the mystery of the visualarchetypes the artist uses every day. Another in dispensable skill of artistspracticing the art of painting, namely spatial construction, is complicatedby Edmond through his refusal to accept three-dimensional naturalismand willingness to resort to conditional coloristic depth, which lends thepainting a relief-like look. His expressive panitings also bear graphicelements, whose origins may be traced back to Cubists and the artist’sfavorite – Picasso, as well as to American Color Field painting. Thisspecific schematization allows for constant return to figurativeness withoutlosing the emotional meanings engendered by the experience of abstraction. The expression and sensuality subjected to the compositional”intrigue” do not stem from irresponsible spontaneous self-expression, butare rather the result of artistic discipline, which studies and restricts thebasic physiological/artistic impulses that give rise to thinking.

Demirdjian’s works get to be present in many diverse architecturalsettings, where they do not only attract attention and turn out to be thecentre not of the interior settings themselves, but rather generate positiveemotions. Those works shape the character of the interior. In a certainsense they never become an element of interior space, but rather insist ontheir own recognizable individuality.

From a historical perspective, as long as we can afford using such aperspective, as we are the artist’s contemporaries, Edmond Demirdjianhas a very important place in Bulgarian art. Without him the landscape ofBulgarian art would have been much more monotonous and dull in itstypicality.

Iara Boubnova2007

ÊÊîîììïïîîççèèööèèÿÿ IIVV,, 2005, àêðèë, ïëàòíî, 130õ110 ñì.CCoommppoossiittiioonn IIVV,, 2005, acrylic on canvas, 130õ110 cm

ÊÊîîëëààææèè,, 2006, êîëàæ, õàðòèÿ, 50õ25 ñì.CCoollllaaggeess,, 2006, collage on paper, 50õ25 cm

××ååððââååííîî ííååááåå,, 2000, àêðèë, ïëàòíî, 81õ100 ñì.RReedd SSkkyy,, 2000, acrylic on canvas, 81õ100 cm

>ÊÊààêêââîî ññèè ããîîââîîððÿÿòò ïïëëîîääîîââååòòåå II,, 2007, àêðèë, ïëàòíî, 55õ46 ñì.WWhhaatt FFrruuiitt TTaallkk AAbboouutt II,, 2007, acrylic on canvas, 55õ46 cm

ÎÎùùåå ââ ññààììîîòòîî ííàà÷÷ààëëîî Åäìîíä Äåìèðäæèÿí áå åäèí ñàìîòåí õóäîæíèê âáúëãàðñêîòî èçêóñòâî. Íåãîâîòî îòêðîâåíî îñìèñëÿíå íà åâðîïåéñêèÿàâàíãàðä îò ÕÕ âåê áå îïðåäåëåíî òâúðäå ïðåäèçâèêàòåëíî. Íå ñàìî âñòàðòà ñè, íî è äî äíåñ, òîé ïðîäúëæàâà â ñúùèÿ äóõ, êîéòî áå çàëîæåí îùåâ íà÷àëîòî ñ èçáîðà ìó íà ëèíèÿòà, ñëåäâàíà îò Ñåçàí è ôîðìóëèðàíà âïðîñëîâóòàòà ìó ôðàçà, ÷å âñè÷êî â ïðèðîäàòà ìîæå äà ñå ñâåäå äî êîíóñ,öèëèíäúð, ïðèçìà è ïàðàëåëåïèïåä.

Çà Åäìîíä òàçè åñòåòè÷åñêà ïëàòôîðìà îçíà÷àâà, ÷å êàðòèíàòà íå òðÿáâàäà îòðàçÿâà ñþæåòà. Òàêà òîé òðúãíà ïî ïúòÿ, çà äà ïðåìèíå îò òàêàòîëåðèðàíîòî ñëåä Âòîðàòà Ñâåòîâíà âîéíà ïðåäìåòíî èçêóñòâî êúìíåïðåäìåòíîòî, äà çàãúðáè èçêóñòâîòî, îòðàçÿâàùî áóêâàëíî æèâîòà èïðåìèíå êúì èçêóñòâî, íàòîâàðåíî ñ åêçèñòåíöèàëíèòå ïðîáëåìè íà íàé-êúðâàâîòî îò ïðåìèíàëèòå ñòîëåòèÿ, äîâåëî è äî êîðåííà ïðîìÿíà âñìèñúëà ìó. Òàêà, èçïîëçâàéêè îïèòà íà Ñåçàí, Ïèêàñî è Áðàê â ðàçëàãàíåòî íàôèãóðèòå è óíèùîæàâàíå íà ñèìåòðèÿòà ïðè ïîñòðîÿâàíåòî íàêîìïîçèöèÿòà, Åäìîíä òðúãíà ïî ïúòÿ íà íåîôèãóðàòèâíîñòòà îòíàòóðàëèñòè÷åí è åêñïðåñèâåí òèï. Åñòåñòâåíàòà ìó äàðáà êúì ÿðêèÿêîëîðèò è ðèñóíêà è ïðîôåñèîíàëíàòà ìó ãðàìîòíîñò ñïîìîãíàõà äàîòêðèå ñâîåòî àìïëîà â öâåòîâèòå ñú÷åòàíèÿ íà Ìàòèñ è Âëàìåíê.

È òàêà, îùå îò íà÷àëîòî íà 70-òå è ïðåç 80-òå ãîäèíè, ñ ðåäêè èçêëþ÷åíèÿ(Àç êàðàì êîëåëî, Õóäîæíèêúò è íåãîâèòå ïåðñîíàæè, Íàòþðìîðò) ÅäìîíäÄåìèðäæèÿí çàìåíÿ íàòóðàòà ñ åêñïðåñèâíàòà äåôîðìàöèÿ íà îáåìèòå, ñìåòàôîðè÷íîñò è çíàêîâîñò íà èçêàçà, áåç îáà÷å äà ñå ïîâëèÿå îòåñòåòèêàòà íà ãðîçíîòî, íà äåñòðóêöèÿòà, íà ïåñèìèçìà è íèõèëèçìà.

Òàêà òîé ñå îêàçà ñðåä åäíè îò íàé-ÿðêèòå ïðèâúðæåíèöè è ïðåäñòàâèòåëèíà êàâàëåòíàòà ôóíêöèÿ íà èçêóñòâîòî. È òîâà ãî ïðåâúðíà â åäèí îò íàé-òúðñåíèòå è êóïóâàíè õóäîæíèöè, ïðèâëåêàòåëíè îñâåí ñ âñè÷êî äðóãî, íî èñ ïîä÷åðòàíîòî èãðîâî íà÷àëî â òÿõ. È òóê å äîñòàòú÷íî äà ïîñî÷à ñàìîíåãîâèòå Àðëåêèíè – ïî-ñêîðî çàáàâíè è ðàçâåñåëÿâàùè, îòêîëêîòî òúæíè âîñìèâàíåòî íà ÷îâåøêîòî íåñúâúðøåíñòâî. Âñúùíîñò òàçèèíòåðïðåòàöèÿ îòãîâàðÿ íà ñîáñòâåíèÿ ìó òåìïåðàìåíò êàòî ÷îâåê,õóäîæíèê è áëåñòÿù áàðàáàíèñò. Òîçè, êîéòî ñ óäàðèòå ïî áàðàáàíèòå,îæèâÿâà ïðîñòðàíñòâîòî îêîëî ñåáå ñè è ãî âúâëè÷à â çàáàâåí ôðåíåòè÷åíòàíö, âåñåë è ïðèâëåêàòåëåí â ñâîÿ äèñîíàíñ ñúñ ñâåòà èçâúí íàñ. Íà òîçèñàìî íåãîâ ñâÿò îòãîâàðÿ åëàñòè÷íàòà è åëåãàíòíà ðèñóíêà, åôåêòíèòåêîëîðèòíè ñú÷åòàíèÿ, èçïúêâàùè íà ãëàäêàòà æèâîïèñíà ïîâúðõíîñò, ðÿäêîîáîãàòÿâàíà ñ åëåìåíòèòå íà êîëàæà (öèêúë Êîëàæè).

Äèñîíàíñíèòå öâåòîâè ñú÷åòàíèÿ, íàïîìíÿùè íåî÷àêâàíèòå ñîëîèíòåðïðåòàöèè â äæàçîâîòî èçïúëíåíèå, ñúçäàâàò â íåãîâèòå êàðòèíèóñåùàíåòî çà ÿðêà öâåòîâà âàêõàíàëèÿ, óêðîòÿâàíà îò õóäîæíèêà ÷ðåçóâåðåíàòà ëèíèÿ â ÷åðíî, î÷åðòàâàùà ñèëóåòà èëè ñòðóêòóðàòà íàêîìïîçèöèÿòà. Òîçè ïîõâàò, óñúâúðøåíñòâàí ïðåç ãîäèíèòå, îïðèëè÷àâà÷àñò îò íàé-äîáðèòå ìó ïëàòíà ñ èçòî÷íàòà êàëèãðàôèÿ, ïðè êîÿòîôèëîñîôèÿòà íà èçïèñâàíåòî íà éåðîãëèôà å ðåçóëòàò îò ïîñòèãíàòèÿïðåäè òîâà äóõîâåí áàëàíñ è âúòðåøíà õàðìîíèÿ, èçðàçåíè âïèêòîãðàìàòà – çíàê (Ïåðñîíàæè ñ éåðîãëèôè, 1977; Ñúíÿò íà ñàìóðàÿ,Ñàìî÷óâñòâèåòî íà âîèíà, Àçáóêàòà íà Åäìîíä – 2000 ã.).

<ÏÏððèèââåå÷÷ååðð,, 2007, àêðèë, ïëàòíî, 46õ38 ñì.AAtt DDuusskk,, 2007, acrylic on canvas, 46õ38 cm

××ååððââååíí ëëèèììîîíí ííààää ÷÷ååððííîî ëëèèññòòîî,, 2007, àêðèë, ïëàòíî, 55õ46 ñì.RReedd LLeemmoonn oovveerr aa BBllaacckk LLeeaaff,, 2007, acrylic on canvas, 55x46 cm

>ÈÈííòòèèììííîî, 2007, àêðèë, ïëàòíî, 55õ46 ñì.IInnttiimmaaccyy, 2007, acrylic on canvas, 55x46 cm

>ÊÊààííààòòàà,, 2007,

àêðèë, ïëàòíî, 73õ60 ñì.TThhee JJuugg, 2007,

acrylic on canvas, 73õ60 cm

Ïðåäñòàâÿíåòî íà ôèãóðèòå è ïðåäìåòèòå îò ðàçëè÷íà ãëåäíà òî÷êàâúðõó äâóèçìåðíàòà ïëîñêîñò (Æåíà è ìîòîð, 1970; Íàòþòìîðò ñ êîëåëî,êèòàðà è ñòåíåí ÷àñîâíèê, 1952; Ìåõàíèçèðàíèÿò ÷îâåê, 1982) å âúïðîñ íàâúòðåøíà óáåäåíîñò. Öåëòà íà õóäîæíèêà å ÷ðåç ñðåäñòâàòà íà÷èñòàòà æèâîïèñ è ïî-ðÿäêî íà êîëàæà äà ïðåâúðíå êàðòèíàòà â ñâîÿñîáñòâåíà ðåàëíîñò, êîíêóðèðàùà äåéñòâèòåëíàòà. È òóê îòíîâî,íàïðàâåíîòî âå÷å îò Ìàëåâè÷ è Áàêñò è ïîçíàòî íà Åäìîíä, ìó ïîìàãàäà ñòèãíå äî íÿêîè êîíöåïòóàëíè âúçãëåäè íà ñóïðåìàòèñòèòå.Ñóïðåìàò íàä êàêâî? Èëè “ïðåâúçõîäñòâî” íàä êàêâî? “Íàä ñâåòà íàèçêóñòâîòî, êîéòî ñå èçäèãà íàä òîâà, êîåòî å çåìíî, íàä çâåçäèòå èãîñïîäñòâà òàì ãîðäî, òàéíñòâåíî è ñàìîòíî, ñÿêàø íà ïîêðèò ñúññíÿã âðúõ” (Ë. Áàêñò). È çà äà íå ñå ñìåòíå, ÷å ïðåêàëÿâàì ñúññðàâíåíèÿòà ùå ïîñî÷à ñàìî îùå åäèí ïðèìåð, çàùîòî íå å âúçìîæíî äàõàðåñâàø Ìàëåâè÷ è äà íå ïîñëåäâàø èçâîäà ìó: “Êâàäðàòúò íàñóïðåìàòèñòèòå è ôîðìèòå, ïîðîäåíè îò òîçè êâàäðàò, ìîãàò äàáúäàò ñðàâíåíè ñ ÷åðòè÷êèòå – ïðèìèòèâíèòå çíàöè íà ïúðâîáèòíèÿ÷îâåê, êîèòî íå ñà îðíàìåíò, à óñåùàíå çà ðèòúì” (Ê. Ìàëåâè÷).

Òàêà çà Åäìîíä âñè÷êî å ðèòúì. È ðåäóâàíåòî íà öâåòíèòå ïåòíà âêàðòèíèòå, è óäàðèòå ïî áàðàáàíèòå, è òóïòåíåòî íà ñúðöåòî.Çàãóáèø ëè ðèòúìà – çàãóáâàø âñè÷êî. Òàêà ñå ðàæäàò ïúëíèòå ñ æèâîòè ïëåíèòåëíà ôàíòàñòè÷íà ïàðàäîêñàëíîñò ïëàòíà îò òèïà íàÔàíòàñòè÷åí ïåéçàæ (2006). Ïëàòíà, êîèòî íîñÿò íåùî îò åñòåòèêàòàíà Áåðãñîí è ïñèõîàíàëèçàòà íà Ôðîéä, à èìåííî – èçðàçÿâàíå íàìèñëèòå, íàñòðîåíèÿòà, öâåòîâåòå, áåç êîíòðîë íà ðàçóìà è òîâàîïðåäåëåíî íàðóøàâàíå â íåãîâèòå êàðòèíè íà ìîìåíòè íà ïðè÷èííî-ñëåäñòâåíèòå âðúçêè, ñúçäàâà óñåùàíåòî çà îñîáåíà ïîåòè÷íîñò,ïîäîáíà íà òàçè íà Äæîðäæî äå Êèðèêî. Òîâà å ïîñòèãíàòî â ïëàòíàòàìó, â êîèòî ïðåäìåòèòå, ôèãóðèòå è ïðîñòðàíñòâîòî ñà ïðåòúðïåëèíåâåðîÿòíè ìåòàìîðôîçè. Òàêà Åäìîíä ñúçäàâà ñâîÿòà íîâàäåéñòâèòåëíîñò, ñâîåòî öâåòíî âèçèîíåðñòâî, áåç çàãóáà íà ñåòèâíèÿõåäîíèçúì è ïîåòè÷íîñòòà.

Êàðòèíèòå ìó, êàêòî è ñàìèÿò àâòîð, íîñÿò áåëåãà íà àâòîðñêèÿ çíàêè ïîâåäåíèå, íà ÷èñòî íåãîâèòå èêîíîãðàôñêè ôîðìóëè è ñîáñòâåíñòèë, ïî êîéòî òîé áèâà ðàçïîçíàâàí. Òåçè ôîðìóëè îáà÷å ñà íàñèòåíè ñàñîöèàòèâíà ìåòàôîðè÷íîñò, êîÿòî äàâà âúçìîæíîñò íà çðèòåëÿ äàäàäå ïðîñòîð íà ñîáñòâåíàòà ñè èíòåðïðåòàöèÿ è äà íàïðàâè ñâîÿòàðàçõîäêà âúâ “ôàíòàñòè÷íèÿ ðåàëèçúì” íà Åäìîíä (öèêëèòå:Ìîðñêèïåéçàæè (2006); Ðèáè (2003-2006); Ìå÷òàíèå; âåëèêîëåïíèòå ìó ðèñóíêè –ïîäãîòîâêà çà ïëàòíàòà).

Ñåãà, â çðåëèÿ ñè ïåðèîä, Åäìîíä Äåìèðäæèÿí ïðîäúëæàâà äà å âåðåí íàïîñòìîäåðíîòî îñìèñëÿíå ñ åëåìåíòè íà ñþððåàëèçúì èìåòàôèçè÷íîñò, íî ïðå÷óïåíè ïðåç íåãîâîòî öâåòíî âèçèîíåðñòâî,ïîåòèêà è ôàíòàñòè÷íà ïàðàäîêñàëíîñò, ïðèáëèæàâàùà æèâîïèñíèÿðèòúì ñ òîçè íà áàðàáàíèòå è ôðåíåòè÷íèÿ íè æèâîò.

Àêñèíèÿ Äæóðîâà1 àïðèë 2007 ã.Öâåòíèöà

ÍÍîîùùííîî ññèèÿÿííèèåå,, 2007àêðèë, ïëàòíî, 46õ38 ñì.NNiigghhtt RRaaddiiaannccee,, 2007 acrylic on canvas, 46õ38 cm

ÏÏóóððïïóóððååíí ççààëëååçç, 2007àêðèë, ïëàòíî, 46õ38 ñì.PPuurrppllee SSuunnsseett, 2007 acrylic on canvas, 46õ38 cm

<ÍÍààòòþþððììîîððòò ññ ïïëëîîääîîââåå,, 2007,àêðèë, ïëàòíî, 55õ46 ñì.SSttiillll LLiiffee wwiitthh FFrruuiitt,, 2007, acrylic on canvas, 55õ46 cm

ÌÌîîÿÿòò ëëþþááèèìì ííààòòþþððììîîððòò,, 2007, àêðèë, ïëàòíî, 61õ50 ñì.MMyy FFaavvoorriittee SSttiillll--lliiffee,, 2007, acrylic on canvas, 61x50 cm

>ÐÐààääîîññòòååíí ïïååððññîîííààææ ííàà ððîîççîîââ ôôîîíí, 2007, àêðèë, ïëàòíî, 81õ65 ñì.JJooyyffuull PPeerrssoonnaaggee oonn RRoossee BBaacckkggrroouunndd, 2007, acrylic on canvas, 81x65 cm

ÎÎããííååííààòòàà ïïëëààííèèííàà,, 2007, àêðèë, ïëàòíî, 60õ73 ñì.TThhee BBllaazziinngg MMoouunnttaaiinn,, 2007, acrylic on canvas, 60õ73 cm

ÂÂúúòòððååøøííîî ïïððîîññòòððààííññòòââîî,, 2007, àêðèë, ïëàòíî, 60õ73 ñì.IInnnneerr SSppaaccee,, 2007, acrylic on canvas, 60õ73 cm

ÀÀôôððèèêêààííññêêèè ïïååééççààææ,, 2006àêðèë, ïëàòíî, 65õ81 ñì.AAffrriiccaann LLaannddssccaappee,, 2006acrylic on canvas, 65õ81 cm

EEddmmoonndd DDeemmiirrddjjiiaann was a lonesome artist in Bulgarian art. His out-spoken rendering of the European avant-garde of the twentieth cen-tury has been labeled as too provocative. Not only from the very startof his career but even today he keeps going along the same track heembarked on from the very beginning when he chose to followCezanne’s style formulated in his famous quote that everything in na-ture can be reduced to a cone, a cylinder, a prism and a paral-lelepiped.

For Edmond this aesthetic platform means that a painting must notreflect the subject matter. This is how he stepped on the road inorder to move from the material art exclusively tolerated afterWWII to the immaterial one and to turn his back on the art that lit-erally copied life and embrace the art loaded with the existentialproblems of the bloodiest century ever in history which led to aradical change in its meaning. Thus using the experience ofCezanne, Picasso and Braque in the de-fragmentation of figuresand the destruction of symmetry in building up the composition.Edmond embarked on the road of non-figurativeness of a natura-listic and expressive type. His natural gift for the bright colour anddrawing as well as his professional literacy helped him discover hisvocation in the colour combinations of Matis and Vlaminck. This ishow from the very beginning of the early 70ies and 80ies, withsome rare exceptions (Riding a Bike, The Artist and his Personages,Still-Life), Edmond Demirdjian replaced nature with the expressivedeformation of volumes and some metaphoric and sign means ofexpression without being influenced by the aesthetics of the ugli-ness, destruction, pessimism and nihilism.

Thus he turned out to be one of the most outstanding adherents andrepresentatives of easel painting as function in art. This is whatturned him into one of the most popular and purchased artists attrac-tive among other things with his playful approach. It would beenough if I mention his Harelquins – funny and cheerful rather thansad in satirizing human deficiencies. This interpretation actually cor-responds to his own temper as a person, artist and brilliant drummer.The one whose drum beats bring life to the surroundings and draweverything into an amusing frantic dance, lively and attractive with itsdisharmony with the outer world. It is this exclusive world of his onlythat can account for the flexible and elegant drawing, the strikingcolour combinations standing out on the smooth painting surfacerarely enriched with elements of the collage (the Collage sequence).

The disharmonious colour combinations reminding of the unex-pected solo jazz interpretations create the feeling of a dazzlingcolour bacchanalia tamed by the artist and his masterful black linecontouring the silhouette or structure of the composition. This tech-nique perfected throughout the years brings part of his best can-vasses close to the Eastern calligraphy where the philosophy ofdrawing the hieroglyph is a result of an attained spiritual balance andinner harmony expressed in a sign pictogram (Personages with

ÀÀçç ââèèææääààìì ââññèè÷÷êêîî,, 2007àêðèë, ïëàòíî, 80õ80 ñì.II CCaann SSeeee EEvveerryytthhiinngg,, 2007acrylic on canvas, 80õ80 cm

Hieroglyphs, 1977; The Dream of the Samurai, A Warrior’s Self-confidence, Edmond’s Alphabet – 2000).

Representing the figures and objects from a different point of viewon the two-dimensional plane (A Woman and a Motorbike, 1970; Still-life with Bicycle, Guitar and Clock, 1952; The Robot Man, 1982) is a mat-ter of an inner conviction. By means of the pure painting techniquesand more rarely of the collage the artist aims at transforming thepainting into his own world competing with reality. Here again whatwas already done by Malevich and Bakst and known to Edmondhelps him arrive at some conceptual views of the supremacists. Su-premacy over what? Or “superiority” over what? “Over the world ofart which soars high above what is earthly and reaches beyond thestars to reign there in pride, secrecy and loneliness as if on of a snow-capped peak” (L.Bakst). Not eager to consider me too circumstantialin my comparisons I’ll point out just one more example bearing inmind it is impossible to be fond of Malevich and not follow his con-clusion: “The square of the supremacists and the forms resultingfrom this square can be compared to the tiny notches – the primitivesign of the primitive man which are not an ornament but a feel forrhythm” (K. Malevich).

This is how for Edmond everything turns out to be rhythm. The alter-ation of colours in his paintings, the drum beats and the beats of theheart. Losing the rhythm means losing everything. Thus those canvassesfull of life and fascinating fantastic controversy like Fantasy Landscape(2006) come into being. Canvasses that remind of Bergson’s aestheticsand Freud’s psychoanalysis with the specific expression of thoughts, dis-positions, colours subject to no mind control. This occasional inten-tional violation of the cause-effect relations in his paintings creates thesensation of a poetic artistry akin to the one of Giorgio de Chirico. Thiscan be found in those canvasses of his where the objects, figures andspace have undergone extraordinary metamorphoses. This is how Ed-mond creates his own new reality, his colour vision without losing thesensuous hedonism and the poetry.

His paintings like their author carry the sign of the trade mark and theunique behaviour, of his exclusively personal iconographic formulaeand style that make him easily recognizable. Those formulae, however,are full of associative metaphorical meaning which allows the viewersto give scope to their own interpretation and to take a unique walk inEdmond’s surreal “fantastic realism” (the sequences Marine Landsacapes(2006); Fish (2003-2006) and his marvelous preparatory sketches).

Now that he is in his mature period Edmond keeps being loyal to thepost modern rationalization with surrealistic and metaphysical ele-ments interpreted through his colour vision, poetic artistry and fanta-sized paradoxical reality which bring the picturesque rhythm close tothe one of the drums and our frantic life.

Axinia Dzurova1 April 2007

ÐÐîîççîîââîî,, 2007, àêðèë, ïëàòíî, 80õ80 ñì.PPiinnkk,, 2007, acrylic on canvas, 80õ80 cm

ÈÈííòòååððèèîîðð ââ ññèèííüüîî,, 2007, àêðèë, ïëàòíî, 80õ80 ñì.IInntteerriioorr iinn BBlluuee,, 2007, acrylic on canvas, 80õ80 cm

ÑÑååëëññêêèè ïïååééççààææ,, 2007, àêðèë, ïëàòíî, 46õ38 ñì.VViillllaaggee LLaannddssccaappee,, 2007, acrylic on canvas, 46õ38 cm

ÊÊààêêââîî ññèè ããîîââîîððÿÿòò ïïëëîîääîîââååòòåå IIII,, 2007, àêðèë, ïëàòíî, 55õ46 ñì.WWhhaatt FFrruuiitt TTaallkk AAbboouutt IIII,, 2007, acrylic on canvas, 55õ46 cm

ÏÏààääííààëëàà ççââååççääàà,, 2007, àêðèë, ïëàòíî, 73õ60 ñì.FFaalllleenn SSttaarr,, 2007, acrylic on canvas, 73õ60 cm

ÌÌîîÿÿòò ëëþþááèèìì ïïååééççààææ,, 2007, àêðèë, ïëàòíî, 73õ60 ñì.MMyy FFaavvoouurriittee LLaannddssccaappee,, 2007, acrylic on canvas, 73õ60 cm

ÀÀçç ââèèææääààìì ââññèè÷÷êêîî ââ ññèèííüüîî,, 2007, àêðèë, ïëàòíî, 80õ80 ñì.II SSeeee EEvveerryytthhiinngg iinn BBlluuee,, 2007, acrylic on canvas, 80õ80 cm

ÏÏååééççààææ ññëëååää ääúúææää,, 2007àêðèë, ïëàòíî, 50õ65 ñì.LLaannddssccaappee aafftteerr RRaaiinn,, 2007acrylic on canvas, 50õ65 cm

ÊÊîîììïïîîççèèööèèÿÿ ññ ääúúððââååòòàà,, 2007àêðèë, ïëàòíî, 80õ80 ñì.CCoommppoossiittiioonn wwiitthh TTrreeeess, 2007acrylic on canvas, 80õ80 cm

<ÐÐààêêîîââèèííàà,, 2007, àêðèë, ïëàòíî, 73õ60 ñì.SSeeaa SShheellll,, 2007, acrylic on canvas, 73õ60 cm

××ååððââååííîîòòîî ääúúððââîî,, 2007, àêðèë, ïëàòíî, 50õ65 ñì.TThhee RReedd TTrreeee,, 2007, acrylic on canvas, 50õ65 cm

ÊÊððààéé ììîîððååòòîî,, 2007, àêðèë, ïëàòíî, 60õ73 ñì.BByy tthhee SSeeaa,, 2007, acrylic on canvas, 60õ73 cm

ÐÐèèááàà èè ììîîððññêêàà ççââååççääàà,, 2007, àêðèë, ïëàòíî, 73õ60 ñì.AA FFiisshh aanndd aa SSttaarrffiisshh,, 2007, acrylic on canvas, 73õ60 cm

Åäìîíä Äåìèðäæèÿí ñå ðàæäà íà 2 àïðèë 1951 ã. â Ñîôèÿ

â ñåìåéñòâîòî íà Âàðòóõè è ÀãîïÄåìèðäæèÿí.

Edmond Demirdjian was born on 2ndApril, 1951 in the family of Vartouhi and

Agop Demirdjian.

Îò 1967 äî 1971 ã. ó÷è â Õóäîæåñòâåíàòà ãèìíàçèÿ â Ñîôèÿ.

Between 1967 and 1971 he studied at the High School of Fine Arts in Sofia.

1973-1978 ñëåäâà â Õóäîæåñòâåíàòààêàäåìèÿ â Ñîôèÿ,

ñïåöèàëíîñò Ñòåíîïèñ.

Between 1973 and 1978 he studied Mural Painting at the National Academy

of Arts, Sofia.

Íàðåä ñúñ çàíèìàíèÿòà ñè ïî èçîáðàçèòåëíî èçêóñòâî,

òîé ñâèðè â ðàçëè÷íè ðîê ãðóïè êàòî áàðàáàíèñò.

Alongside his pursuits in fine arts he usedto play in a variety of rock bands

as a drummer.

Íà 12 îêòîìâðè 1978 ñå ðàæäà ñèíúò ìó Àíðè.

On 12th October, 1978 his son Anri was born.

Ïðåç äåêåìâðè 1979 èçêóñòâîâåäúòÌàêñèìèëèàí Êèðîâ îòêðèâà ïúðâàòà

ìó ñàìîñòîÿòåëíà èçëîæáà â ãàëåðèÿòà íà óë. “Ðàêîâñêè” 108

â Ñîôèÿ.

In December 1979 the art critic Maximilian Kirov opened his first solo

exhibition in the gallery at 108 Rakovski Str. in Sofia.

Àòàíàñ Íåéêîâ îòêðèâà ãîëÿìàèçëîæáà íà õóäîæíèêà

â ïðåäñòàâèòåëíàòà ãàëåðèÿ íà Ñúþçà íà áúëãàðñêèòå õóäîæíèöè

íà óë. “Ðàêîâñêè” 125 â Ñîôèÿ.

Atanas Neikov opened a vast exhibition of the artist in the gallery of the Union of Bulgarian Artists at 125 Rakovski Str.

in Sofia.

Êðàÿò íà 80-òå è íà÷àëîòî íà 90-òåãîäèíè íà 20-òè âåê ñà ïåðèîä

íà ñåðèîçíà ðàáîòà êàêòî â àòåëèåòî, òàêà è íà ñöåíàòà –

ïúðôîðìàíñ ñ èçâåñòíàòà áúëãàðñêàäæàçîâà ïåâèöà Éúëäúç Èáðàõèìîâà.

The late 80ies and early 90ies of the 20thcentury marked a period of profound

work both in the studio and on the stage – a joint performance with Bulgarian jazz

singer Yildiz Ibrahimova.

 íà÷àëîòî íà 90-òå Åäìîíä Äåìèðäæèÿí èçëèçà

íà ìåæäóíàðîäíàòà õóäîæåñòâåíàñöåíà. Åëåíà Ïîïòîäîðîâà îòêðèâà

ñàìîñòîÿòåëíàòà ìó èçëîæáà â ãàëåðèÿ Il Saggiatore â Ðèì,

ñåïòåìâðè 1990.

In the early 90ies Edmond Demirdjianwent international. Elena Poptodorova

opened his solo exhibition at the Il Saggiatore Gallery in Rome,

September 1990.

Ñàìîñòîÿòåëíà èçëîæáà â Galerie CDB, Landeskulturzentrum,

Ëèíö, Àâñòðèÿ, ÿíóàðè-ôåâðóàðè 1991.

Solo exhibition in Galerie CDB, Landeskulturzentrum, Linz, Austria,

January, February 1991.

Ñàìîñòîÿòåëíà èçëîæáà â ãàëåðèÿØðüîäåð, Àóãñáóðã, Ãåðìàíèÿ,

ìàé 1992.

Solo exhibition in Schroeder Gallery,Augsburg, Germany, May 1992.

Ñàìîñòîÿòåëíà èçëîæáà â Hof GalerieUrsula Schlotterbeck, Õîðá, Ãåðìàíèÿ,

îêòîìâðè-íîåìâðè 1993.

Solo exhibition at Hof Galerie UrsulaSchlotterbeck, Horb, Germany,

October-November, 1993.

Äâå ñàìîñòîÿòåëíè èçëîæáè â ãàëåðèÿ Çèíçåí, Áðþêñåë – ïðåç 1993è ïðåç 1996. Â òîçè ïåðèîä å ïîêàíåí

ñ èçëîæáè è âúâ Âèåíà, Áåðëèí,Ëþêñåìáóðã, Êàíçàñ ñèòè, Ñòîêõîëì,

Äîðíáèðí.

Two solo exhibitions at Zinzen Gallery,Brussels – in 1993 and in 1996. At the

same period he was invited to exhibit hisworks in Vienna, Berlin, Luxemburg,

Kansas City, Stockholm, Dornbirn

Ñëåä äåñåò ñàìîñòîÿòåëíè èçëîæáèâ ÷óæáèíà – ïúðâà ãîëÿìà èçÿâà

â Ñîôèÿ â ãàëåðèÿ Êàòè ïðåç íîåìâðè 1993.

After ten solo exhibitions abroad came his first big event in Sofia at Kati Gallery

in November 1993.

 ïåðèîäà 1994-1996 æèâåå è ðàáîòè â ÑÀÙ. Ïðåç 1995 å óäîñòîåí ñúñ ñòèïåíäèÿ îò Ôîíäàöèÿ

“Ïîëúê-Êðàñíúð”, Íþ Éîðê.Ñàìîñòîÿòåëíà èçëîæáà â The Lobby

Gallery, Ìàíõàòúí, Íþ Éîðê, íîåìâðè-äåêåìâðè 1995. Çàåäíî ñúñ Ñòåôàí

Ãðóåâ è ïðèíöåñà Àëåêñàíäðà (äúùåðÿòàíà êíÿãèíÿ Ìàðèÿ Ëóèçà).

Between 1994-1996 he lived and worked inthe USA. In 1995 he was granted a scholar-

ship by the Pollack-Krasner Foundation,New York. Solo exhibition at The Lobby

Gallery, Manhattan, New York, November-December, 1995. Together with Stephan

Gruev and Princess Alexandra (duchessMaria Louisa’s daughter).

Ïðåä ìóçåÿ Ìåòðîïîëèòúí â Íþ Éîðê.Ñúñ ñâîÿ êàðòèíà â Ëîñ Àíæåëèñ.

In front of the Metropolitan Museum in New York.

With a painting of his in Los Angeles.

Åäìîíä îñòàâÿ ñâîÿ ïîäïèñ ïðåä ãàëåðèÿ Ìàêòà â Ñîôèÿ ïðè

îòêðèâàíåòî íà ñàìîñòîÿòåëíàòàìó èçëîæáà: “Îáè÷àì è ìðàçÿ

Íþ Éîðê”, àïðèë 1996.

Edmond puts his signature in front of Makta Gallery in Sofia at the

inauguration of his solo exhibition I Loveand Hate New York, April 2006.

Ïðåç ëÿòîòî íà 1996 äâà ìåñåöàïðåáèâàâà âúâ Ôðàíöèÿ – ïîñåùåíèå

â çàìúêà Ãðèìàëäè â Àíòèá, êúäåòî å ðèñóâàë Ïèêàñî, è â àòåëèåòî

íà Ñåçàí â Åêñ aí Ïðîâàíñ.

In the summer of 1996 he spent twomonths in France – he visited

the Grimaldi Castle in Antibes where Picasso used to paint and Cezanne’s

studio in Aix-en-Provence.

Àòåëèåòî íà õóäîæíèêà â Ñîôèÿ, êâ. Ñâ. Òðîèöà.

The artist’s studio in Sofia, St. Troitsa residential area.

Ñëåä 1992 ã. Åäìîíä Äåìèðäæèÿíçàïî÷âà îòíîâî ñåðèîçíî äà ñå

çàíèìàâà ñ ìóçèêà è äà èçíàñÿ ñîëîâèêîíöåðòè çà óäàðíè èíñòðóìåíòè.

Âåðñèè íà íåãîâèÿ êîìïëåêò áàðàáàíèîò 2000 è 2007 ã.

After 1992 Edmond Demirdjian resumedhis serious music pursuits and gives solo

concerts for percussion instruments. Versions of his set of drums from 2000

and 2007.

Ñïåöèàëíî ó÷àñòèå íà ÅäìîíäÄåìèðäæèÿí íà ìîäíîòî ðåâþ-

ïúðôîðìàíñ íà Ìàðèåëà Ãåìèøåâà”Fashion Fire”, äâîðà íà Ïîæàðíàòà

â Ñîôèÿ, 2003.

Special participation of Edmond Demirdjian in Mariela Gemisheva’s

Fashion Fire fashion show, the Fire Station yard, 2003.

Èìïðîâèçèðàí ïúðôîðìàíñ çà êàøîí è 4 ïàëêè çàåäíî ñ ãîëåìèÿ áúëãàðñêèìóçèêàíò Ìèë÷î Ëåâèåâ ïî âðåìå íàîòêðèâàíåòî íà ñàìîñòîÿòåëíàòà

èçëîæáà íà Åäìîíä Äåìèðäæèÿí â ÀÒÀ öåíòúð çà ñúâðåìåííî èçêóñòâî,

Ñîôèÿ, 2005.Ðàçõîäêà èç óëèöèòå íà ñòàðèÿ ãðàä

â Ïëîâäèâ.

Improvised performance for a cardboardbox and 4 drumsticks jointly with the

great Bulgarian musician Milcho Levievduring the opening of Edmond

Demirdjian’s solo exhibition at ATA Centre for contemporary art, Sofia 2005.A walk along the streets in the old town

of Plovdiv.

Çàåäíî ñ ïðèÿòåëÿ è ó÷èòåëÿñâåòîâíîèçâåñòíèÿ äæàçîâ ìóçèêàíò

Ïèòúð Åðñêèí â ñàìîñòîÿòåëíàòàèçëîæáà íà õóäîæíèêà â õîòåë

Õèëòúí, Ñîôèÿ, àïðèë 2006.

Together with his friend and teacher, the world famous jazz musician Peter

Erskine in the artist’s solo exhibition at theHilton Hotel, Sofia, April 2006.

Êîðèöàòà íà äèñêà Standards íà ÏèòúðÚðñêèí, Àëúí Ïàñêóà è Äåéâ

Êàðïåíòúð, 2007, îôîðìåíà îòÅäìîíä.

The cover of Standards by Peter Erskine,Alan Pasqua and Dave Carpenter, 2007,

created by Edmond.

Ñâåòîâíàòà ëåãåíäà íà àìåðèêàíñêèÿôóòáîë Ëîðúíñ Òåéëúð – êîëåêöèîíåð

íà êàðòèíèòå íà Åäìîíä.

The world legend of American footballLawrence Taylor – collector of Edmond’s

paintings.

Åäìîíä Äåìèðäæèÿí ïîäíàñÿ ñâîÿêàðòèíà íà àðìåíñêèÿ êàòîëèêîñ

Êàðåêèí I, ïàòðèàðõ íà àðìåíñêàòàïðàâîñëàâíà öúðêâà ïðè ïîñåùåíèåòî

ìó â Ñîôèÿ ïðåç 2002.

Edmond Demirdjian presents a paintingof his to the Armenian Catholicos Karekin,

patriarch of the Armenian Orthodoxchurch during his visit in Sofia in 2002.

Ïúðâî ïîñåùåíèå â Åðåâàí êàòî ÷ëåííà îôèöèàëíàòà äåëåãàöèÿ, íà÷åëî ñ ïðåçèäåíòà íà ÐÁúëãàðèÿ Ãåîðãè

Ïúðâàíîâ, è ïîñðåùàíå îòÌèíèñòúðà íà êóëòóðàòà íà Àðìåíèÿ,

îêòîìâðè 2004.

First visit to Erevan as member of the official delegation headed by the

President of Bulgaria Georgi Purvanovand reception by the Culture Minister

of Aremenia, October 2004.

Ïðîô. Àêñèíèÿ Äæóðîâà îòêðèâàèçëîæáàòà “Íåïîêàçâàíî îò Åäìîíä”,

ãàëåðèÿòà íà óë. “Øèïêà” 6 â Ñîôèÿ,àïðèë 2006.

Prof. Aksenia Djourova opened the Non-exhibited by Edmond exhibition at the

6 Shipka Str. Gallery, April 2006.

Ïðåç 2006 ã. Åäìîíä Äåìèðäæèÿí å óäîñòîåí ñ íàãðàäàòà íà ãðàäÑîôèÿ çà èçêëþ÷èòåëíè çàñëóãè

â îáëàñòòà íà êóëòóðàòà è èçêóñòâîòî.

In 2006 Edmond Demirdjian was given the Sofia City Award

for outstanding merits in the sphere of culture and art.

Èçëîæáà “Òîâà, êîåòî èìà çíà÷åíèå”,3-14 ìàé 2007, ãàëåðèÿ Ðàêóðñè, Ñîôèÿ

”What Matters” exhibition, 3-14 May,2007, Rakyrsi Gallery, Sofia.

ÇÇàà ààââòòîîððèèòòåå::Ïðîô. ä-ð Àêñèíèÿ Äæóðîâà, Öåíòúð çà ñëàâÿíî-âèçàíòèéñêèïðîó÷âàíèÿ “Èâàí Äóé÷åâ”Àíäðþ Ìàêäîíúë, ïèñàòåë è êðèòèê, Íþ ÉîðêÏðîô. Àòàíàñ Íåéêîâ, õóäîæíèê Äîö. Ãåîðãè Ëîçàíîâ, ÑÓ „Êëèìåíò Îõðèäñêè” Ä-ð Äàíèåëà ×óëîâà, óðåäíèê, ÑÃÕà Äåñèñëàâà Äèìîâà, êðèòèê è êóðàòîð Äèàíà Ïîïîâà, êðèòèê Ìàêñèìèëèÿí Êèðîâ, èçêóñòâîâåä Ä-ð Ìàðèÿ Âàñèëåâà, êóðàòîð, ãëàâåí óðåäíèê ÑÃÕÃÏðîô. ä-ð ×àâäàð Ïîïîâ, èçêóñòâîâåä, ÑÓ „Êëèìåíò Îõðèäñêè” ßðà Áóáíîâà, êóðàòîð, Èíñòèòóò çà ñúâðåìåííî èçêóñòâî-Ñîôèÿ

AAbboouutt tthhee aauutthhoorrss::Prof. Dr. Axinia Dzurova, Center for Slavic and Byzantine Studies ”Ivan Duitchev”Andrew Macdonal, writer and art critic, New YorkProf. Atanas Neykov, artistProf. Dr. Chavdar Popov, art historian, Sofia University ”Kliment Ohridski”Dessislava Dimova, art critic and curatorAss. Prof. Georgi Lozanov, Sofia University ”Kliment Ohridski”Dr. Daniela Chulova, curator, Sofia Art GalleryDiana Popova, art criticIara Boubnova, curator, Institute of Contemporary Art-SofiaDr. Maria Vassileva, chief curator, Sofia Art GalleryMaximilian Kirov, art critic

 êàòàëîãà ñà âêëþ÷åíè êàðòèíè îò êêîîëëååêêööèèèèòòåå ííàà: Àíàòîëèé Ïàçèéñêè, Àíãåë Ñèìåîíîâ, ä-ð Àíòîí Íåíîâ, Áîÿí Ðàäåâ, ä-ð Áîðèñëàâ Ñòîÿíîâ, Âåñåëà è Áîéêî Ðàäîåâè, Äèìèòúð Ïàìïóëîâ,Åâãåíè Ñèìåîíîâ, Ãåîðãè Òîëåâ, Ëþáîìèð Âàñèëåâ, Ìåòèí Àðèô, Ìëàäåí Ìóòàô÷èéñêè, Ðóìåí Ñòàí÷åâ, Ñâåòîñëàâ Àíàñòàñîâ, Ñíåæà Ðàäåíîâñêà, Ñîíÿ è Ãàðî Êàðàêàøèÿí, Òîäîð Òîäîðîâ, Òîìà Íèêîëîâ, Òîøî Òîøåâ, Ñîôèéñêà Ãðàäñêà Õóäîæåñòâåíà Ãàëåðèÿ.

The catalogue includes paintings from the ccoolllleeccttiioonnss ooff: Anatolii Paziiski, Angel Simeonov, Dr. Anton Nenov, Boyan Radev, Dr. Borislav Stoyanov, Vessela and Boiko Radoevi, Dimitar Pampulov, Evgeni Simeonov, Georgi Tolev, Lyubomir Vassilev, Metin Arif, Mladen Mutafchiiski, Roumen Stanchev, Sneja Radenovska, Svetoslav Atanassov, Sonya and Garro Karakashian, Todor Todorov, Toma Nikolov, Tosho Toshev, Sofia Art Gallery.

ÅÅääììîîííää ÄÄååììèèððääææèèÿÿíí

Ñúñòàâèòåë è ðåäàêòîð: Ìàðèÿ ÂàñèëåâàÀâòîðè: Àêñèíèÿ Äæóðîâà, Àíäðþ Ìàêäîíúë, Àòàíàñ Íåéêîâ, Ãåîðãè Ëîçàíîâ, Äàíèåëà ×óëîâà, Äåñèñëàâà Äèìîâà, Äèàíà Ïîïîâà, Åäìîíä Äåìèðäæèÿí, Ìàêñèìèëèÿí Êèðîâ, Ìàðèÿ Âàñèëåâà, ×àâäàð Ïîïîâ,ßðà ÁóáíîâàÔîòîãðàôèè: Äåíè ÊðúñòåâÃðàôè÷åí äèçàéí: Íàäåæäà Îëåã ËÿõîâàÏðåâîä: AGILA TranslationsÏðåäïå÷àòíà ïîäãîòîâêà: ÈÄÀÏå÷àò: Ñîôèÿ 2007

© Õóäîæíèêà è àâòîðèòå

ISBN��������

EEddmmoonndd DDeemmiirrddjjiiaann

Compiler and editor: Maria VassilevaAuthors: Aksinia Djyrova, Andrew Macdonal, Atanas Neikov, Georgi Lozanov,Daniela Chylova, Dessislava Dimova, Diana Popova, Edmond Demirdjian,Maximilian Kirov, Maria Vassileva, Chavdar Popov, Iara BoubnovaPhotos: Deni KrastevGraphic Design: Nadezhda Oleg LyahovaTranslations: AGILA TranslationsPre-print: IDAPrint:Sofia 2007

© The artist and the authors