Petra Lossen 0:09
How's the art scene ticking? Everything we always wanted to know about art, the podcast of Petra lossen. Don't you downshift is a Bulgarian painter. He graduated from the National College of Applied Arts in three Africa and studied painting at the university Sun Cyril and mentored us in Veliko term novel. As he says himself, he received a very good education. Till today he benefits from this knowledge. Don't show us an artist with manifest sets and talents, who is not satisfied, was staying at a certain style, but is constantly looking for new ways and challenges. He enjoys working with different materials and painting in front of audiences, as well as conducting interactive projects. Don show is also interested in science soceity and politics, which is reflected in his works. Hello, dontoh Hello, Petra. It's very nice to have you with me in this podcast. And yeah, let's start. You got into art with your studies. National High School of Applied Arts in how do you say it? Three? abna?
Doncho Donchev 1:34
Three of my Yes, yeah. Okay.
Petra Lossen 1:37
And sent a Cyril and Methodius. University of Veliko Tarnovo.
Doncho Donchev 1:47
Yes. Medicare education. Yeah. Yes. I had a great chance to get into this school and then get my academic education. Yeah, the teaching was at a very high level and I learnt classic way of, for example, drawing, sculpting. And actually, how to express myself. Yeah,
Petra Lossen 2:22
you can draw so fantastically without using a template. For me, you are kind of a genius. Thank you. I mean, you are.
Doncho Donchev 2:37
Yeah, it was really good. Good high level education. Yes. And then I specialize in animation in new Breanna film studios, after my my academic education. So I don't think it's move away from mark on the country animation. And my work in in cinema, give me the opportunity to learn a lot of new things about for example, movement, form and time. This opens up greater opportunities in my work. Yeah.
Petra Lossen 3:22
This is why your figers always look like they're still moving.
Doncho Donchev 3:28
You're using also a verity of materials are also these egg cartons. And you create sculptures was it from from these egg cartons? How can this idea been to your mind?
Doncho Donchev 3:43
I don't like monotony, and repetition of, of the so called personal style, courage and artistic change a very important. This is what gives me a sense of freshness. I don't want to be a whole life like a slave to just one successful style. That will be a disastrous effect on me. I try to keep in touch with the dynamic nature of our times. This is why there is such diversification in my work. I draw people audiences work with how you say a variety of materials, oil, mix of technique. Yeah, acrylic ink and make your striations painting sculptures. interactive projects. Yeah, I'm generally open to the challenges that surround us.
Petra Lossen 4:47
And I remember Don show that you also used to pattern from your mother's journals, which you found an old covered and you use them for your paintings. You included them into your paintings. So your works became something like a combination of these patterns and your drawings?
Doncho Donchev 5:08
Absolutely, yes.
Petra Lossen 5:10
I haven't seen that before.
Doncho Donchev 5:13
It's another area, which I like to study is connected to the wisdom and wealth of ancient thought. How you know, my 2014 project Los Muertos was exhibited in Bern, and Zurich. Thank you, Petra, for your professional work. This together are the plan. Thank you very much. And then we presented in because 2015 the acting Yes, in reducing the victim staying National Museum. Right. And this project? How you know, no, here I look at the differences in the world around us. Yeah, it's a beauty beauty and ugliness exists, and neither of them can try without the other. These are the opposites of our existence, just like light and darkness. Good and evil to implies. Yeah. So beauty is everywhere. Even in the smallest things. One must be awake to finit and to have their senses fully,
Petra Lossen 6:35
as good. And you also participated in two expos. One was 2015, in Milano, Milan, and the other one was 2017 in Astana, let us know a bit from these experiences.
Doncho Donchev 6:53
Yes. I participated in Expo Milano 2015. With my work in Title brief is showing its reflection to English. And from the Creator doser pavilion. And then text poster na 2017. Yeah, where I created the large scale panel entitled human energy. This was later to become the property of the World Expo Museum in Shanghai. These two events were were organized by Arminius Curie, curator, and director of the Leonardo da Vinci Art Gallery in New Yorker,
Doncho Donchev 7:41
yeah, I've had a large numbers of exhibitions around Europe and of course, in Bulgaria, and you got the biggest response to your satirical collection, which is entitled the 21st century that was shown in Sofia in the Central Military Club in 2018. Right? What was your attention to paint these works like
Petra Lossen 8:07
this. In 2017, I created the satirical project 21st century to show the contrast of our times, it shows some of the most prominent politicians worldwide, drawn in the form of playing cards, the original work size is 88 to 63 centimeters. It's a mixed set technique. And I painted for a year, politics is a game in which we can find all the human patients how now, the perception of world leaders is contradictory. So each of them is drawn in two different ways. The brain cat is very favorable for such a drawing because it can be seen on both sides. Yeah, and have different emotional states of of the character. This is this is an antibody of feelings and aspirations. Yeah. Also aces from from a deck of cards point to the problems of humanity. The project builds on the contrast, and I don't take sides, but I only show public opinion and differences. Yeah. So yeah, the search for truth through art requires courage. I have never had a problem with that.
Petra Lossen 9:48
Yeah. And have you ever got a reaction from the people you painted?
Doncho Donchev 9:53
I don't know their reactions. I don't know.
Petra Lossen 9:58
You never heard okay. Yeah. I understand because you painted famous politicians in a provoking way. For example, so was giving an apple and if you turn the package shows him grabbing the apple, and you painted also Berlusconi, Donald Trump, Putin, everyone and so on. All Yes,
Petra Lossen 10:21
the Queen Elizabeth Markel. All famous politicians
Petra Lossen 10:31
and that all in a provoking way so and then one side as it is shown what they are promising. And on the other side what what they are doing is this right?
Doncho Donchev 10:42
Yes, yes. You said two faces. Yeah, good.
Petra Lossen 10:48
Yeah, exactly. You show the two faces of the people and how you say it, right. Yeah. Yeah, it was. It's really great to see it. And then you went to Geneva, to the CERN in 2016. And in 2018, you participated in Geneva, CERN. They combine science and art and art in an extraordinary way. Tell us a bit about this.
Doncho Donchev 11:17
In June 2016, I helped exhibition Sam named particle metamorphoses. This is related to particle particle divine. It was also very successful. And then in STEM, I met people with whom I share my next year, the largest the large project timeline of the universe. That's how I decided to start work for me. And this is a project that collects House science and art in one. Yeah, tails of the evolution of the universe, from build to the appearance of the human being. Yeah, the stages of development, drawn with the colors of the spectrum, each color, or evolve or avails different reality, in harmony with the color sounds, music that develops in parallel with the composition. As we know, painting and music are connected, and together, they enhance perceptions. The abstract forms give freedom to the imagination, and the opportunity to dive in a different world. The entire installation is exposed in that circle, as symbolically reminiscent of the human eye from the entrance violin. The violin itself of course, the violet color is the beginning to going through the other colors of the rainbow. Yeah, get to direct it is our world to Professor Dr. Yonder, neato has a major role from CERN in the project. Also, the music is composed by composer in New Haven. And the timeline of the universe is all due Visual Project, presented as part of art at CMS programming session, and has been shown in a number of locations around the world.
Petra Lossen 13:48
Okay, yeah, that's nice, huh? Okay. And then you painted a very famous painting of Leonardo da Vinci. Salvator Mundi is the title of a painting attributed to Leonardo da Vinci. But it's an oil painting depicts Christ as the savior of the world and the status to around to 1500. The provenance of the painting is only incompletely documented only after 1900 There is a reliable evidence, although, at that time the painting was attributed to a student from Leonardo circle. In 2005. The work was acquired by people who initiated restorations and investigations, various experts came to the conclusion that the work was Leonardo da Vinci's own at that time, there were other assessments which assume for example, workshop work, and thus only a co authorship by Leonardo, regardless of this painting achieved the records Some of 450 and something million USD at Christie's Auction in New York on November 15. That was in 2017. And so it is currently the most expensive painting ever sold it at auction, and it is privately owned on the occasion of Leonardo da Vinci's five hundreds birthday in May 2019. You repainted Salvator Mundi in front of an audience in Locarno. You also painted this work as a deck of a card with two opposite sides like you're playing cards serious, don't you? Please share with us your thoughts regarding this.
Doncho Donchev 15:53
I began work with Armenia securely the director of Leonardo da Vinci art gallery, housed in this part of Switzerland in 2015, with a program of performances, exhibitions and also participation in in giant project. Yeah, in May, how you say 2019 to mark 500 years ago now DaVinci that I painted in front of an audience in Reno, recreating salvato movie, it is how you say, one of the most interesting and most enigmatic of all paintings. This work beside being one of the most valuable is also highly controversial. I provoked the viewer, turning the image both ways around this creating a painting cart. My performance was killed and broadcast by Swedish National Television FCI. At the same time, also, I asked a part of Daniel now to 500 exhibition, I presented a project entitled Codex Metamorphoses, the work is part of a longer series interpretating, the meta metamorphosis of COVID and the modernist Kafka. Leonardo da Vinci is like a bridge between antiquity and future draw, it's called St works have been transformed. In our times. In the exhibition, the main painting, Madonna, its interpretation of one of his drawings, I created completely own patterns from fashion magazines, you know, my works with fashion magazines. I also present natural sketches of different animals now looking like pages from an old book, and their mirror image created from a constructive forums. Also in December 2019 during an exhibition, they'll now have been shelved gallery in Horner of the Vinci's work, I performed a series of life portraits. It's another part of my work, portraits, and earlier performance painting as part of cultural elements in the vino, and the Locarno Film Festival. I have included portraits of former Marco Solari, the president of the festival, Peter Greenaway, film director, Swiss President per se, also president of Lithuania, Danny debug Skype, and others.
Petra Lossen 18:52
Yeah, don't you? What are your next plans? What are your upcoming projects?
Doncho Donchev 18:59
The first one is fundamental interactions. The project consists of for a large house with size 200 to 400 centimeters. They're located opposite. The project again combines science and art in one it will be presented first in Sofia in May. Next year, and then sorry in June 2022. The second one is first. Our is car it's my favorite. I paint it's it's my favorite time of painting play cards. Yeah. This is some graphic art installation. Yeah. vein cards will also be printed, like, limited Limited Edition. Each word is placed is placed independently and to Tate's through a system that allows the viewer to see the card. The painting on both sides. Yeah. Yeah. I always had some interest the house how I say in playing cards. Yeah, more specifically the design and symbolism behind each card and how an artist can use them as a canvas. The original works are painted on a canvas with size 100 To 800 to 100 to 80 centimeters. Now that's a quite big mess. It's a big part versus the it's mixing technique. Mainly acrylic, their feet pencil and burnish.
Petra Lossen 21:11
Yeah, I'm curious to see them because I'm, I'm asking myself with it. I mean, with the politicians, it's easy to what they promise to show what they promise and then what what they do the opposite. But with the artists, it's quite more difficult to show two parts of their personality, right?
Doncho Donchev 21:32
Yes, each face card presents. How its famous artist one side of the mirror image is a Portrait of the Artist. Yeah, the other side is a portrait in the style of the artist is famous for.
Petra Lossen 21:51
Ah, okay. Wow, I'm looking forward to it to see them.
Doncho Donchev 21:55
Great. As soon soon better. My project is very big. The project is divided in two main parts. The Last Supper and very bored. I'm working on this project with my my friend from Berlin Angular Dimitroff, together with him. Yeah. Combining, and it's a waste, and humanity byproducts with leaving nature, in an art installation, to be seen by many people all around the world, using the power and social function of art, to state universal human problems with focus on environment. The design and creation of the project are based on also on science and modern technology. The first part, the Last Supper, covers the theme of humanity's him self eating. Yeah, the installation is comprised of a human embryo on a plate held up by eats umbilical cord. Yeah, the original mobile is made of paper mache pounds. These are the useless waste used to make something creative and a new life. Yeah, a copy of the little plastic displaced in an aquarium filled with seawater. Moving corals planted on your surface here corals, beauty, hair and colors will gradually envelop the shape. Yeah, and the entire process is filmed with with cameras from different angles. Okay, yeah. You can see my on my website. Yes. The second part is reborn. Yeah, it will be recreating the project in a natural environment. Finishing the sculpture showed the made of maybe metal size three meters in height and two meters in geomet. The final placement of the object shall be in diverse, friendly Cove. The corals show covered a bit completely in nine months. submerging in natural environment each show reflect how the idea of rebuilds The place good janco polarity and maybe a track of practice of many, many visitors. Yeah.
Petra Lossen 25:11
Yeah, very cool. I'm looking forward to it. I've seen it on your website and unfortunately,
Petra Lossen 25:20
maybe next year in Berlin,
Petra Lossen 25:23
yeah. Okay. Yeah. Okay, great. I have read that some of the artists around the world have problems with the time of the lockdown during this pandemic. And they were a bit unmotivated, maybe a bit depressed. And how was it do for you? Have you been able to concentrate on your work? Or was it difficult for you to continue working during that lockdown?
Doncho Donchev 25:56
This strange times? For all of us, of course. Yeah. I'm sorry for the tragedy of the people. But I think that after all, this is over. We will be more positive and aware. I think, I don't know I think I hope for me, this was a fruitful time because I close for two months and finished my book, my book album with with drawings. Sama, satirical. Yeah. You know, it presents 101 celebrities from different types. There are logistics musicians on everyone. And they're connected in a fun way. Yeah, the walk has already been translated into several languages. English, Russian, Lithuanian. Chinese James also. Okay. Yes, I do. Have you also
Petra Lossen 27:05
German, you translated into German?
Doncho Donchev 27:09
I want I want maybe, maybe not yet. I want and also performances in, in different countries are coming. Accompanied by by life painting. Yeah. presentation.
Petra Lossen 27:25
Great. Don show. It was so great talking to you. Thank you so much for your time. Don't show.
Doncho Donchev 27:32
Thank you. But it was pleasure for me and I hope to see us
Petra Lossen 0:04
How is the art scene ticking everything we always wanted to know about art, a podcast of Petra lossen. Nicola Vallarta is an Italian painter, sculptor, architect, musician and video maker. He started to paint and model sculptures as a child and sold his first artwork at the age of only nine, you will find his artworks in big collections and museums around the globe. In 1992, he has started to implement his working process with the new CGI technologies. And this field is certainly a pioneer, if not the very first to have combined traditional painting and digital modeling. Nicola will explain us in this podcast, what working with CGI means. And much more. Hello, Nicola Villa Otto.
Nicola Verlato 1:01
Hello, Petra.
Petra Lossen 1:02
Hi. I'm very, very happy that you are with me in this podcast. And we will talk about you and your work. Yeah, as I learned you, you started very, very early as a kid, right? How old Have you been when you started with painting and sculpting and so on?
Nicola Verlato 1:25
I don't even remember when I really started because I was so little. They say that the first thing that we're starting to do in the say, let's call it creative field was like to play with legal matter was two years old. At least that's what my mother tells me all the time. I was really obsessed with that. But then soon after that I started to draw to sculpt because I was living in the countryside. And we have a very good, very good terrain there. There was almost clay, you know, so I was making a lot of little sculptures. I was like, I really wanted to be a sculptor when I was a little kid, you know, but then, you know, I mean, also, you know, on one side, I was obsessed with sculpture. And then by I was also very insisting with my parents, so I was able to get to a sculpture laboratory nearby, my home, and they were working with marble butter, there was no way to have such a little kid there in that environment. So it's right. Yeah, super dangerous. And so had so my father, you know, but I was so insistent that my father had to bring me there. No. So I saw with my eyes it was more possible. So then I offered the for drawing, and then painting. And I remember when I was five years old, I saw for the first time in a book, I had a lot of art books at home, you know? And I saw kind of agile when I was five years old. And I was it was almost like, you know, airily, Jews, mystical experience. I wasn't even able to talk after seeing the paintings or Caravaggio. This is what my mother says all the time. You know. So that was where my beginning after that, you know, I started to paint in oil when I was like, six, seven years old, and sell the paintings when I was nine.
Petra Lossen 3:16
Yeah. And do you still have some of these works? These early works? Yes. Yeah. Also the sculptures and so on. Oh, that's fantastic. It's
Nicola Verlato 3:26
gorgeous. Not because, you know, I didn't have a technique at that time. You know, I didn't know how to cook them, or these kind of things, you know? Yeah. Otter is more difficult, but it has like, it needs more, let's say technical abilities. Yeah. With the painting, at least, you know, at the beginning.
Petra Lossen 3:45
Yeah. So you were absolutely clear. What your, what your profession will be for you. Do you have siblings? Yes, yes. We were like, four. Are they also into art?
Nicola Verlato 4:00
You know, in a way, but not like me, you know, so not, let's say not about painting or sculpture. But my sister studied the singing and music. We all studied music,
Petra Lossen 4:10
as we are the families into culture.
Nicola Verlato 4:13
Yes, very much. It was particularly you know, both my father and my mother, you know, my mother, I think she did in a more like passional way, you know, encouraged us a lot. But in the end, you know, my brother of right poetry's my sister studying music. And we also the use case again, you know, must she didn't more seriously and but in the end the painting sculpture was just me. Yeah.
Petra Lossen 4:41
And then so when you when you grow up a little bit, and then you started and you studied a lot. So it was architecture, music, and art painting and sculpting. Why so, so many? I don't
Nicola Verlato 4:57
know. I'm, for example, When my mother decided to make us all study music for me, you know, I everything I'm doing and doing in a kind of obsessive possessive way. Everything that is about art, let's say in music, it became immediately. I don't know. I was super unbelievably involved into it. I studied even in a conservatory, no, I studied composition. As soon as I studied the, I learned how to read music, I start to write music. And when I was like nine years old, you know, the music. Of course, you know, in the end, I understood that didn't have the same, let's say, talent as I have in drawing and painting. So a certain point became like a less important, but it was a big struggle to decide between the two. On the other side, architecture, to me is just an extension of drawing and painting and sculpting is the same thing. You know, there's no much difference, in my opinion, if that's reflecting sort of way, you know, what is always being for the Italian tradition. And also, if you think, in the Renaissance, you know, everybody was a painter, sculptor, architect, they were doing all these different things, because the way in which we approached with different disciplines was through one common tool, there was like an idea of a representation in perspective and models, you know, creating models video simulating everything, before being painted or sculpted the own or planned as an architecture as architecture into models. So there was a certain you know, contiguity between a very strong continuity between these different disciplines. If you think even you know, Jocko Jocko he was a painter, but he was the architect of you call it the bell tower nearby the Santa Maria the fjord in Florence.
Petra Lossen 6:52
Yeah, yeah, that's right. Many architects they also paint. Yeah, I also started a bit architecture. And I also painted a bit because it's a creative thing. I guess, why? Why these kind of people are addicted to two. They're all related.
Nicola Verlato 7:08
Yes, complete.
Petra Lossen 7:13
You also your first exhibition was an age of 15, right?
Nicola Verlato 7:18
Yes, that was the first serious one because before I had the seventh exhibition when I was like, 9 to 10 years old, but he was the word in, you know, I grew up in a very little town in the countryside. So every year they were this festival for the harvest of a grape serve the wine, the new wine, all these kind of things, you know, they were big production of wine, that area, you know, so we were doing this little town festivals everywhere. Also art exhibitions. So when I was 19 years old, I was participating in this is
Petra Lossen 7:53
the name of this, of this place.
Nicola Verlato 7:55
We were called the sag re in Italian, Saturday's mini like festivals. So let's say a place where I grew up. It wasn't mainly though is a super little town. Nearby Vicenza. Yeah, okay, so no, in Veneto not far from the any sir. Yeah. And I was born in Verona, but my family moved after a few years in the countryside of change to produce wine, because that was that what my father was doing, you know? Ah,
Petra Lossen 8:24
are you also producing wine? To me?
Nicola Verlato 8:26
No, my family? No, no, no, not anymore. No, since a long, long time, they stopped bitter many years ago. It was like Anttila was like Tylenol 17 centuries
Petra Lossen 8:36
now. Okay. So your artwork hinges materialization of modern and ancient narratives and mythologies, to demonstrate the absolute continuity of the central themes of mankind, that continually adapt to the changes of time while maintaining their recognizability explain us what what does this mean?
Nicola Verlato 9:02
Is it sounds complicated in reality is not so complicated is meaning and, you know, if you look all that, no, I think that, you know, what we do as humans, you know, for remember, largest part in terms of in terms of culture, is to constantly creating narratives and mythologies, you know, is, in a way probably is our main activity. And I think by working with these narratives, what's happening, that you discover that they're always the same thing that is constantly adapted to the new needs that we have, you know, but in the end, the structure are always the same. So why, but by painting them isn't a way to to show how much this new narratives looks like the old ones, you know, in by doing that, you discover a discontinuity of a human kind, you know, and there is a continuity in time in space, you know, because mythologies from Africa are super similar to the ones from Finland To reverse in Japan to reverse in the Mediterranean. So, there is various common structure by you know, making these paintings, I like to underline this OJT and contiguity. in time and space, particularly time because we suffer a lot of these English, you know, that, you know, on one side, the, our culture is telling us how we are going to progress toward the future. But by doing this, we also have a feeling of a loss of what we left behind us, you know, and then you see that by working and comparing different narratives coming from different times, you see that there is no loss of anything, we are always the same thing in nothing is changing for real, that's in the deep structure of our understanding of the world, that we are still the same thing, you know, nothing changed the Minnesota way, you know, when people 3000 years ago, even more, yeah, they see you in a way, you know, what's what are, in my opinion, does if he's approached in a certain way, you know, because after does many different things, but, of course, my way to approach it is to underline this continuously, they continue to have a human race. Yes, away.
Petra Lossen 11:14
Yeah. And the style you you are using, can we say it's photorealism?
Nicola Verlato 11:22
can even be say that, you know, might be honestly, I think that it can be said that
Petra Lossen 11:31
it's not really photorealism?
Nicola Verlato 11:33
No, no, because, in fact, is based on a completely different kind of basis of in photorealism. photojournalism, of course, was like a VESA assumption that the photography is the way through which we see the world. And then you know, the painter was, let's say, assuming the structure of photography, as a foundation of painting, in my opinion, what I'm trying to do is to overcome completely photography, with new media, sir, and I'm building up my own markets, let's say, as an architect does, you know, which are like a figures and everything is the painting is prepared already know, three dimensionally, then copy from this market. So this isn't the case can be made in clay, or I make them in CGI income with a computer, for example, more recently, so I'm trying to overcome the photography paradox to enter into a new one that is the one we are living today that is the one CGI, the video games, all these kind of things, you know, so I'm moving out from that, you know, of course, my work is on one side is very realistic. The other side is, is also very idealized because I come from a construction.
Unknown Speaker 12:49
Yeah, when we look at it, then it is so detailed. Let's see. So how long does it take to paint a work for example, one by two meters?
Nicola Verlato 13:00
It takes like a while is more or less near the end? No, after many so many years I'm working I'm being able to tell you more or less how much easier it is but it's never really clear, you know, is around 40 days or something like that.
Petra Lossen 13:14
Okay, yeah. Okay. All one word. Yeah. No. You use for these paintings. They're so called CGI technic.
Nicola Verlato 13:24
Yes, CGI is a computer graphic is an images generated by the computer. So in this, I think, I think honestly, I was the first one ever probably into painting to start to use that kind of technique to include that technique in my process of work as a painter, because I started in 1992 1981 Sorry, to use these techniques, which is meaning that the images that are built with the CGI were computer graphic imagery, and they are what we do, what I do is to build up the models, you know, we are like a digital models that can be seen from every possible angle, they can be you can put the virtual lights onto them, you can put them in certain perspectives. So there is a lot of possibilities you can operate with these kind of tools. But on the other side, you know, it is something that is creating a new kind of aesthetic. Because the since everything is artificial is generated by mathematics, and geometry, he creates a different kind of aesthetic. But that to me is the most important is that I discovered this in 1982 When I saw for the first time that sci fi movie throne and which is a very we're moving I don't even like the movie much. But it was the first movie in which we were like entire sequences generated with a computer. Yeah, you know CGI. And I was in super impressed immediately because some of those images, were looking exactly like the some drawings made by the Renaissance painters at the beginning of the 15th century, I was thinking it is exactly the same thing. Yes, 100 years after laughter. So I understood immediately that if I wanted to keep working to this classic kind of area, you know, expression, I had to ask you to appropriate these techniques that were being there revitalization of classic imagery, you know, so, of course, in during the 80s was super complicated, you know, because it was too expensive. It was even too complicated just to learn those things. But during the 90s, things started to be more, let's say, cheaper, and easier to approach. So finally, I was able to have my own computer, my programs. Yeah. And then I was able to get this step into the process of painting making for me.
Petra Lossen 16:09
Yeah, so did I understand, right? You have these models in the computer, and you can turn them it's a 3d, but you don't produce from from that starches, you use it for your paintings?
Nicola Verlato 16:24
Only as a reference, I paint completely from scratch for the cameras, that
Unknown Speaker 16:29
protection on the canvas? From the No. Okay, so you your paintings are freehand?
Nicola Verlato 16:37
Yes, freehand. Yeah, completely. You know, for some elements, I transfer some elements, you know, just to say I put some carbon behind the prints of some elements, they are transferred them over canvas, because maybe they are more geometrical elements. But the thing that I think is extremely important still is never to never underestimate the moment in which you start to paint on the canvas. You know, it doesn't have to be Justin as a crucial or suffer is mean may be made us aware as to be something that you really you elaborate on the cameras, you know, painting you thinking, you know, you think the form, you can't avoid that, you know, so I use them just as a reference.
Unknown Speaker 17:23
All your subjects are figurative, and your paintings are provoking and they are full of energy. For me, it's a very special way or style, how you show the movement? Because when we watch your paintings, we can feel that they are in a movement
Nicola Verlato 17:45
still. Absolutely, absolutely. I'm very happy that you underline that, because that's exactly what I want to convey with my paintings, you know, because I'm fascinated, I'm clear, you know, by seeing by watching my paintings, you absolutely see that the only such a time interested about is the body movement. I'm super fascinated by the idea of crystallizing time into space. dressform what is embedded into time? Yeah, to something that is part of our space, which are we leaving you with other bodies, you know, so it's all about that, you know?
Petra Lossen 18:21
Great. And to just to get back to the CGI technique. You taught this way of painting for several semesters at the New York Academy, right in New York. Yes to students. Yeah. And all your fingers as I mentioned before, they can be shown in a very provoking way. And is this I mean, the provocation is Do you think this is something we can we should and we can expect from art I think
Nicola Verlato 18:53
is part of that you know, of course you can make art in so many different ways the way in which I'm interested is like, trying to you know, I need this kind of very violent aggressive provocation because because it's always what they liked. Also, when I was since I was a little kid, you know, the my first love in painting was Caravaggio. Theravada. is one of the most aggressive and violent artists ever and proper this my own the take on art you know, so I need to be shaped by art on the other side that that's a way to make you know, the prices of his feet painted the figures more to say pricing the same in our world. Yeah. Isn't a certain way that the figures telling you hey, look at me, I'm yeah, we you. Yeah, yeah, it's like, bam, that's another thing I'm Italian you know, I grew up in, you know, among all this more maintain sculptures and paintings. And you just enter into churches, you see paintings of martyrs domes people cutting pieces. So there's no way to get out of it right? No, no dramatic point of view on the market Kiko exactly. I mean so it's very theatrical everything you know, on the other side is like a very close to this Greek Roma roots also, you know that they test through catalyses minor with a certain point in order to see it adapted to this roots. And then they started to embed this imagery again, in Christianity, you know, but the actual roots of it the origin of all this is really coming from ancient Greece, tragedy, you know, the to show, you know, the the inner absurdity of life in a sort of way, you know, this constant conflicts, you know, that we are going through in our life. So, by doing that by insisting or that is still, you know, the same thing, we're talking since the beginning, you know, water makers, still the same kind of humans, as we were, like, 5000 years ago, even more is this sort of way, this incapacity to get completely the meaning of things, you know, so the serenity of life shows itself through these conflicts. And that's why you're representing them is always showing how we never change, you know, because if you read some Greek tragedies are the most astonishing piece of literature ever written, because they put you in front of this difficulty that we have to understand what we do in this place.
Petra Lossen 22:02
Yeah, you know, you left a couple of years in Los Angeles, and you also lived in New York. So when we know they are not Italian, have you ever got any negative feedback on on the power Ness on the aggression of your works,
Nicola Verlato 22:20
but rather live that much longer? Thymeleaf Decker 14 years United States, I lived the seven years in New Yorker seven years in Los Angeles. Yeah, I never really got much negative feedback in United States, because, you know, it's like a such a big country that the market is you just have so many different kinds of opinions. Of course, or maybe they didn't tell me and I got recently some very negative opinions about some paintings, but it's because United States, they're going through a very complicated phase of very serious thinking, this moment, I got more negative feedback here, you need to, you know, really unbelievable. Yeah, because contemporary art in Italy, wants to detach itself from the cultural tradition of Italy, you know, there is this feeling to that. There is a, you know, a kind of a contrast, you know, between contemporary art and the, let's say, let's call it the cultural identity of Italy, that is what we were talking about before, you know, so at least the people who are working in contemporary art, were trying to detach themselves through this cultural identity. And so I got more negative feedback here, because they want to be more American than the Americans, you know, more British, the British
Petra Lossen 23:44
people understand is that
Nicola Verlato 23:47
it's almost like a character tool, or something else.
Petra Lossen 23:51
From my point of view. I mean, if art is not an a kind of a provoking way, then it is so yeah, softly. I think it was Monet, who said, Life is Strange enough, or hard enough. So why do you want to have art also, with difficult things, but for me, it needs to be like this. But this
Nicola Verlato 24:15
blood, we're thinking? Yeah, I never like the the work of monet.
Petra Lossen 24:22
Yeah, I can imagine that you are. Can we say you are the opposite?
Nicola Verlato 24:30
Thank you. It's a big honor to be that.
Petra Lossen 24:35
Your work people and your work they are often naked. Why? I mean they are fighting and they are in situations you usually you are not naked. And you mean the muscles and this looks so fantastic.
Nicola Verlato 24:53
You know, the reason is exactly again the same, you know, because I want to create more emotional involvement because isn't it Also because this thing has been studied recently in neuro psychiatric, neurology, you know, sorry, in neurology, and then he came out that we are extremely sensitive to the depiction of the human body, you know, of course, because we feel in our self as a simulation of what we see. So for example, if I see somebody movement, you know, all the muscles are thing that the movement, we feel that in our brain as we are doing the same, so hiding the body is mean that I won't ever portunity To feel ever in the same way, the same intensity of what I see when what I feel when the body is naked. Yeah, so, but I think this is an explanation I give to myself after a very long time. I was keep painting naked people all the time, you know, it's like a, I think is almost side is because I always like the classic art, you know, and most of the time people are not represented naked. But on the other side, they are represented naked, because even in the classical times, they wanted to create views. Very strong emotional involvement.
Petra Lossen 26:20
Yeah. I never knew that. That's interesting. And can we find yourself in some of your paintings?
Nicola Verlato 26:26
Yes, yes. I'm several times in several paintings. times is because the way it was the last minute I don't find the more than I don't find the right face to put their thing I put my face and say, Okay, I get that there's no special meaning. Why some time I'm into this painting so many times is that oh, maybe there is a special meaning, which I still have to understand why, um, I put myself there, you know, can even be Oh, yeah. Interesting. Yeah. So many times one of the best self portraits is the crazy self portrait the Michelangelo made in the last judgement in which he showed itself as were skiing of St. Bartholomew is like a, it's just a name of the skin, you know, but you see that it was in you know, the face completed the form the without the body in it? Yes, it well, the most dramatic or Refik self portraits ever made, I think,
Petra Lossen 27:25
yeah. Nicola, where do you get your ideas from? For your paintings?
Nicola Verlato 27:33
I think I'm, as all of us, you know, we are completely embedded into all this media system, you know, that is made by Internet, TV and music and movies, and books. So radio. So what's happening the time getting my ideas from the media world, practically. And there are some stories I'm very attracted to. So I don't know I can. For example, one of the main projects I'm working on is about Pasolini, Nora Paolo Pasolini. He happened because I heard some people talking about him in the radio, and then I was thinking, Okay, I want to do something about him, because I was very impressed by the story. So let's say that all my ideas are coming from these kind of, there are two kinds of ideas from narratives. And then from my reflections about painting itself, there are two sides of my production essay. The beside that is a more more conceptual essay that is about artists itself, you know, and the other one that is about narratives,
Petra Lossen 28:38
yeah, and which one is the most important work for you from from your works?
Nicola Verlato 28:44
Well, they're both important. You know, it's like a writer that is also a philosopher, let's say, on one side, you write a story, right? And over. On the other side, you write little treaties, about your ideas about writing, for example, they're both important. Probably, let's say, the final goal for me is to work on these narratives. That's probably what I'm trying to do for real, you know, like, my favorite to be a possibility going to be the my contribution. And society in a way is about representing this narratives. Probably, probably, you're right, probably that one is the most important.
Petra Lossen 29:23
Okay. I have seen a drawing of a Michael Jackson temple. Yes. Well, is this a project you
Nicola Verlato 29:32
realize? No, no. It's just one of several utopian projects I set up during the years. And probably, I don't know if it was the first one maybe. Yeah, it was the first one. Yeah, again, you know, because I heard the news about Michael Jackson who died. Immediately I was thinking I want to make some paintings. I want to make some sculptures about him. And then we're thinking about why not creating also a temple to which we spent is going to be located, you know, maybe to be built, where he died or where he was born, or where maybe started to see, you know, too, because my main thing now is to figure out if it's still possible to make some art that is completely rooted in a specific place that is very special or the place. So I'm working on several labels, let's say, but one of the labels is also Viswa, you know, trying to see if it's possible through Arthur to express some narratives embedded into a territory in order to defend the territory from further from exploitation, for example. So because I understood that art as this possibility, because it creates a sort of sacred, nothing is really related to the territory, that define the territory, you know, if you in the end, a little construction, or even a big construction of a moment, which contain all the symbolic aspects, create in the in the people the idea that that territory cannot be touched anymore, you know, so is it a very kind of ecological kind of idea? You know, I'm working on it since like, last 10 years, destroying the you soul about Michael Jackson is kind of one of his several others.
Petra Lossen 31:29
Yeah, I've seen it. Yeah. Your works are present in big collections and museums, where can we? Where can we go if we want to see something from new
Nicola Verlato 31:42
ver presidented, for example, the martyr Museum in Rovereto in Italy, the beautiful contemporary art museum, and they are part of a collection, but they're not. On the walls. They say they are in the you say?
Petra Lossen 31:59
The collection? Yeah.
Nicola Verlato 32:01
If a collection of a museum, I have a painting has been bought by the Lucas Museum in Los Angeles that is opening up, maybe in 2023, then I have
Petra Lossen 32:13
it will be on display in 23?
Nicola Verlato 32:16
I don't know. Hopefully, yes, it will be great. Absolutely. Yes. There's a beautiful big museum that is about narrative art. Hmm. And I'm very curious to see what you're going to be because it's so much close to how I intend art to be, you know, to me something that is able to express narratives, and being in having a very direct playing approach to the relationship with the people, you know, with the audience.
Petra Lossen 32:48
Yeah. And what are your upcoming projects? What are you working on
Nicola Verlato 32:54
now and working on exhibition I want to have hearing of Rome, next year, in March, in a very beautiful public space that is called the chairman of Diocletian, the location chairman, and is a huge, huge ancient Roman building.
Petra Lossen 33:12
Do you have the date of the opening? Yes, we're
Nicola Verlato 33:15
going to be March end of March, beginning of April, we still have to define exactly the day
Petra Lossen 33:20
just let me know because I will be at that time around that time, maybe we can
Nicola Verlato 33:28
do that will be great. Yeah, this is a huge that this this project about Pasolini is I'm working on the purchasing for seven years. And finally, I'm going to show there are going to be like six big monumental paintings. Eight, nine sculptures. They architectural an architectural project, a huge drawings of 30 meters. 30 meters large by three tall drawing, and then video.
Petra Lossen 34:05
That T meters.
Nicola Verlato 34:07
Yeah, 30 meters drawing. Sketch, let's say, Well, yeah, that's what I'm, I'm, I'm not to me so far, you know, to make these things. That's what I really like to do. Yeah, like, be. Yeah, I can. I'm a disgrace for my galleries. You know,
Petra Lossen 34:27
fortunately, people can buy this for the living room, you
Nicola Verlato 34:31
know. It's always a problem. So now I have an exhibition up in Copenhagen. And I have a painting that is like, four meters tall by three, you know, so it's like, we have to find somebody with a house that can host a painting.
Petra Lossen 34:49
Exactly. Yeah, that's that's a challenge.
Nicola Verlato 34:53
But they do also smaller thing.
Petra Lossen 34:55
Yeah. Yeah. Yeah, but the big ones are the impressive ones.
Nicola Verlato 35:00
Yes, that's because you are scanned and you know, you are getting on the same scale with the figures in the painting, you know, so sometimes the figures are even bigger than so this is like a very strong relationship between the viewer and the painting. Of course, even small paintings creates this lemony you know, important emotional relationship but the big Largo large monumental scape for me is my favorite.
Petra Lossen 35:27
My to definitely eagle eyed was so great to talk to you. I learned a lot. It's really, really interesting, I must say, and I'm looking forward to to see what you're working on. And that was going on. Thank you so much that you took your time for us to explain your work and the background and everything.
Nicola Verlato 35:49
Thank you so much for this opportunity. It's been really great talk with you better. Thank you. Okay, you
Petra Lossen 0:09
How's the art scene ticking? Everything we always wanted to know about art, the podcast of Petra lossen. Don't you downshift is a Bulgarian painter. He graduated from the National College of Applied Arts in three Africa and studied painting at the university Sun Cyril and mentored us in Veliko term novel. As he says himself, he received a very good education. Till today he benefits from this knowledge. Don't show us an artist with manifest sets and talents, who is not satisfied, was staying at a certain style, but is constantly looking for new ways and challenges. He enjoys working with different materials and painting in front of audiences, as well as conducting interactive projects. Don show is also interested in science soceity and politics, which is reflected in his works. Hello, dontoh Hello, Petra. It's very nice to have you with me in this podcast. And yeah, let's start. You got into art with your studies. National High School of Applied Arts in how do you say it? Three? abna?
Doncho Donchev 1:34
Three of my Yes, yeah. Okay.
Petra Lossen 1:37
And sent a Cyril and Methodius. University of Veliko Tarnovo.
Doncho Donchev 1:47
Yes. Medicare education. Yeah. Yes. I had a great chance to get into this school and then get my academic education. Yeah, the teaching was at a very high level and I learnt classic way of, for example, drawing, sculpting. And actually, how to express myself. Yeah,
Petra Lossen 2:22
you can draw so fantastically without using a template. For me, you are kind of a genius. Thank you. I mean, you are.
Doncho Donchev 2:37
Yeah, it was really good. Good high level education. Yes. And then I specialize in animation in new Breanna film studios, after my my academic education. So I don't think it's move away from mark on the country animation. And my work in in cinema, give me the opportunity to learn a lot of new things about for example, movement, form and time. This opens up greater opportunities in my work. Yeah.
Petra Lossen 3:22
This is why your figers always look like they're still moving.
Doncho Donchev 3:28
You're using also a verity of materials are also these egg cartons. And you create sculptures was it from from these egg cartons? How can this idea been to your mind?
Doncho Donchev 3:43
I don't like monotony, and repetition of, of the so called personal style, courage and artistic change a very important. This is what gives me a sense of freshness. I don't want to be a whole life like a slave to just one successful style. That will be a disastrous effect on me. I try to keep in touch with the dynamic nature of our times. This is why there is such diversification in my work. I draw people audiences work with how you say a variety of materials, oil, mix of technique. Yeah, acrylic ink and make your striations painting sculptures. interactive projects. Yeah, I'm generally open to the challenges that surround us.
Petra Lossen 4:47
And I remember Don show that you also used to pattern from your mother's journals, which you found an old covered and you use them for your paintings. You included them into your paintings. So your works became something like a combination of these patterns and your drawings?
Doncho Donchev 5:08
Absolutely, yes.
Petra Lossen 5:10
I haven't seen that before.
Doncho Donchev 5:13
It's another area, which I like to study is connected to the wisdom and wealth of ancient thought. How you know, my 2014 project Los Muertos was exhibited in Bern, and Zurich. Thank you, Petra, for your professional work. This together are the plan. Thank you very much. And then we presented in because 2015 the acting Yes, in reducing the victim staying National Museum. Right. And this project? How you know, no, here I look at the differences in the world around us. Yeah, it's a beauty beauty and ugliness exists, and neither of them can try without the other. These are the opposites of our existence, just like light and darkness. Good and evil to implies. Yeah. So beauty is everywhere. Even in the smallest things. One must be awake to finit and to have their senses fully,
Petra Lossen 6:35
as good. And you also participated in two expos. One was 2015, in Milano, Milan, and the other one was 2017 in Astana, let us know a bit from these experiences.
Doncho Donchev 6:53
Yes. I participated in Expo Milano 2015. With my work in Title brief is showing its reflection to English. And from the Creator doser pavilion. And then text poster na 2017. Yeah, where I created the large scale panel entitled human energy. This was later to become the property of the World Expo Museum in Shanghai. These two events were were organized by Arminius Curie, curator, and director of the Leonardo da Vinci Art Gallery in New Yorker,
Doncho Donchev 7:41
yeah, I've had a large numbers of exhibitions around Europe and of course, in Bulgaria, and you got the biggest response to your satirical collection, which is entitled the 21st century that was shown in Sofia in the Central Military Club in 2018. Right? What was your attention to paint these works like
Petra Lossen 8:07
this. In 2017, I created the satirical project 21st century to show the contrast of our times, it shows some of the most prominent politicians worldwide, drawn in the form of playing cards, the original work size is 88 to 63 centimeters. It's a mixed set technique. And I painted for a year, politics is a game in which we can find all the human patients how now, the perception of world leaders is contradictory. So each of them is drawn in two different ways. The brain cat is very favorable for such a drawing because it can be seen on both sides. Yeah, and have different emotional states of of the character. This is this is an antibody of feelings and aspirations. Yeah. Also aces from from a deck of cards point to the problems of humanity. The project builds on the contrast, and I don't take sides, but I only show public opinion and differences. Yeah. So yeah, the search for truth through art requires courage. I have never had a problem with that.
Petra Lossen 9:48
Yeah. And have you ever got a reaction from the people you painted?
Doncho Donchev 9:53
I don't know their reactions. I don't know.
Petra Lossen 9:58
You never heard okay. Yeah. I understand because you painted famous politicians in a provoking way. For example, so was giving an apple and if you turn the package shows him grabbing the apple, and you painted also Berlusconi, Donald Trump, Putin, everyone and so on. All Yes,
Petra Lossen 10:21
the Queen Elizabeth Markel. All famous politicians
Petra Lossen 10:31
and that all in a provoking way so and then one side as it is shown what they are promising. And on the other side what what they are doing is this right?
Doncho Donchev 10:42
Yes, yes. You said two faces. Yeah, good.
Petra Lossen 10:48
Yeah, exactly. You show the two faces of the people and how you say it, right. Yeah. Yeah, it was. It's really great to see it. And then you went to Geneva, to the CERN in 2016. And in 2018, you participated in Geneva, CERN. They combine science and art and art in an extraordinary way. Tell us a bit about this.
Doncho Donchev 11:17
In June 2016, I helped exhibition Sam named particle metamorphoses. This is related to particle particle divine. It was also very successful. And then in STEM, I met people with whom I share my next year, the largest the large project timeline of the universe. That's how I decided to start work for me. And this is a project that collects House science and art in one. Yeah, tails of the evolution of the universe, from build to the appearance of the human being. Yeah, the stages of development, drawn with the colors of the spectrum, each color, or evolve or avails different reality, in harmony with the color sounds, music that develops in parallel with the composition. As we know, painting and music are connected, and together, they enhance perceptions. The abstract forms give freedom to the imagination, and the opportunity to dive in a different world. The entire installation is exposed in that circle, as symbolically reminiscent of the human eye from the entrance violin. The violin itself of course, the violet color is the beginning to going through the other colors of the rainbow. Yeah, get to direct it is our world to Professor Dr. Yonder, neato has a major role from CERN in the project. Also, the music is composed by composer in New Haven. And the timeline of the universe is all due Visual Project, presented as part of art at CMS programming session, and has been shown in a number of locations around the world.
Petra Lossen 13:48
Okay, yeah, that's nice, huh? Okay. And then you painted a very famous painting of Leonardo da Vinci. Salvator Mundi is the title of a painting attributed to Leonardo da Vinci. But it's an oil painting depicts Christ as the savior of the world and the status to around to 1500. The provenance of the painting is only incompletely documented only after 1900 There is a reliable evidence, although, at that time the painting was attributed to a student from Leonardo circle. In 2005. The work was acquired by people who initiated restorations and investigations, various experts came to the conclusion that the work was Leonardo da Vinci's own at that time, there were other assessments which assume for example, workshop work, and thus only a co authorship by Leonardo, regardless of this painting achieved the records Some of 450 and something million USD at Christie's Auction in New York on November 15. That was in 2017. And so it is currently the most expensive painting ever sold it at auction, and it is privately owned on the occasion of Leonardo da Vinci's five hundreds birthday in May 2019. You repainted Salvator Mundi in front of an audience in Locarno. You also painted this work as a deck of a card with two opposite sides like you're playing cards serious, don't you? Please share with us your thoughts regarding this.
Doncho Donchev 15:53
I began work with Armenia securely the director of Leonardo da Vinci art gallery, housed in this part of Switzerland in 2015, with a program of performances, exhibitions and also participation in in giant project. Yeah, in May, how you say 2019 to mark 500 years ago now DaVinci that I painted in front of an audience in Reno, recreating salvato movie, it is how you say, one of the most interesting and most enigmatic of all paintings. This work beside being one of the most valuable is also highly controversial. I provoked the viewer, turning the image both ways around this creating a painting cart. My performance was killed and broadcast by Swedish National Television FCI. At the same time, also, I asked a part of Daniel now to 500 exhibition, I presented a project entitled Codex Metamorphoses, the work is part of a longer series interpretating, the meta metamorphosis of COVID and the modernist Kafka. Leonardo da Vinci is like a bridge between antiquity and future draw, it's called St works have been transformed. In our times. In the exhibition, the main painting, Madonna, its interpretation of one of his drawings, I created completely own patterns from fashion magazines, you know, my works with fashion magazines. I also present natural sketches of different animals now looking like pages from an old book, and their mirror image created from a constructive forums. Also in December 2019 during an exhibition, they'll now have been shelved gallery in Horner of the Vinci's work, I performed a series of life portraits. It's another part of my work, portraits, and earlier performance painting as part of cultural elements in the vino, and the Locarno Film Festival. I have included portraits of former Marco Solari, the president of the festival, Peter Greenaway, film director, Swiss President per se, also president of Lithuania, Danny debug Skype, and others.
Petra Lossen 18:52
Yeah, don't you? What are your next plans? What are your upcoming projects?
Doncho Donchev 18:59
The first one is fundamental interactions. The project consists of for a large house with size 200 to 400 centimeters. They're located opposite. The project again combines science and art in one it will be presented first in Sofia in May. Next year, and then sorry in June 2022. The second one is first. Our is car it's my favorite. I paint it's it's my favorite time of painting play cards. Yeah. This is some graphic art installation. Yeah. vein cards will also be printed, like, limited Limited Edition. Each word is placed is placed independently and to Tate's through a system that allows the viewer to see the card. The painting on both sides. Yeah. Yeah. I always had some interest the house how I say in playing cards. Yeah, more specifically the design and symbolism behind each card and how an artist can use them as a canvas. The original works are painted on a canvas with size 100 To 800 to 100 to 80 centimeters. Now that's a quite big mess. It's a big part versus the it's mixing technique. Mainly acrylic, their feet pencil and burnish.
Petra Lossen 21:11
Yeah, I'm curious to see them because I'm, I'm asking myself with it. I mean, with the politicians, it's easy to what they promise to show what they promise and then what what they do the opposite. But with the artists, it's quite more difficult to show two parts of their personality, right?
Doncho Donchev 21:32
Yes, each face card presents. How its famous artist one side of the mirror image is a Portrait of the Artist. Yeah, the other side is a portrait in the style of the artist is famous for.
Petra Lossen 21:51
Ah, okay. Wow, I'm looking forward to it to see them.
Doncho Donchev 21:55
Great. As soon soon better. My project is very big. The project is divided in two main parts. The Last Supper and very bored. I'm working on this project with my my friend from Berlin Angular Dimitroff, together with him. Yeah. Combining, and it's a waste, and humanity byproducts with leaving nature, in an art installation, to be seen by many people all around the world, using the power and social function of art, to state universal human problems with focus on environment. The design and creation of the project are based on also on science and modern technology. The first part, the Last Supper, covers the theme of humanity's him self eating. Yeah, the installation is comprised of a human embryo on a plate held up by eats umbilical cord. Yeah, the original mobile is made of paper mache pounds. These are the useless waste used to make something creative and a new life. Yeah, a copy of the little plastic displaced in an aquarium filled with seawater. Moving corals planted on your surface here corals, beauty, hair and colors will gradually envelop the shape. Yeah, and the entire process is filmed with with cameras from different angles. Okay, yeah. You can see my on my website. Yes. The second part is reborn. Yeah, it will be recreating the project in a natural environment. Finishing the sculpture showed the made of maybe metal size three meters in height and two meters in geomet. The final placement of the object shall be in diverse, friendly Cove. The corals show covered a bit completely in nine months. submerging in natural environment each show reflect how the idea of rebuilds The place good janco polarity and maybe a track of practice of many, many visitors. Yeah.
Petra Lossen 25:11
Yeah, very cool. I'm looking forward to it. I've seen it on your website and unfortunately,
Petra Lossen 25:20
maybe next year in Berlin,
Petra Lossen 25:23
yeah. Okay. Yeah. Okay, great. I have read that some of the artists around the world have problems with the time of the lockdown during this pandemic. And they were a bit unmotivated, maybe a bit depressed. And how was it do for you? Have you been able to concentrate on your work? Or was it difficult for you to continue working during that lockdown?
Doncho Donchev 25:56
This strange times? For all of us, of course. Yeah. I'm sorry for the tragedy of the people. But I think that after all, this is over. We will be more positive and aware. I think, I don't know I think I hope for me, this was a fruitful time because I close for two months and finished my book, my book album with with drawings. Sama, satirical. Yeah. You know, it presents 101 celebrities from different types. There are logistics musicians on everyone. And they're connected in a fun way. Yeah, the walk has already been translated into several languages. English, Russian, Lithuanian. Chinese James also. Okay. Yes, I do. Have you also
Petra Lossen 27:05
German, you translated into German?
Doncho Donchev 27:09
I want I want maybe, maybe not yet. I want and also performances in, in different countries are coming. Accompanied by by life painting. Yeah. presentation.
Petra Lossen 27:25
Great. Don show. It was so great talking to you. Thank you so much for your time. Don't show.
Doncho Donchev 27:32
Thank you. But it was pleasure for me and I hope to see us