In the new project, created for the space of Gallery +359, Boryana has focused her work on the peculiarities of the architecture of the building of the water tower, where in the centre stands a column, which is the backbone of the facility. The movement in the building takes place on a spiral stairway that runs around this backbone reaching its highest point where the water tank is located. In order to walk through the entire space from the top of the tower, it is necessary to go down another stairway to reach the last room – that of the tank. Boryana Petkova’s drawings follow this rhythm defined by the architectural environment; they visually synthesize how the semantics of the idea of human drive to move up unfolds. From the initial effort to keep the body upright to the metaphorical equivalent, describing the personal life course of vertical ascent, where after each point reached follows a descent to the starting point for a new ascent. At first sight, the lines that describe this movement seem chaotic and unrestrained, but in the way they are applied to the walls is sealed the artist’s personal experience. Boryana Petkova presents an endless chart of ups and downs that, besides physical space, covers also a significant segment of physical time. Reflection on the personal story is related to personal memory, which is not a reliable source of objective information. Therefore, by sinking into these linear routes, by means of art Boryana tracks the possibility of restoring missing links between the debris of memories or reflects on the cause of their loss in the context of an increasingly fragmented world. And art, according to Gilles Deleuze « is the most direct intensification of resonance and dissonance between bodies and space, between one medium or rhythm and another. » In this sense, Deleuze sees the philosophy that art can offer “is not a theory of art, an elaboration of its silent or undeveloped concepts, but what philosophy and art share in common—their rootedness in chaos, their capacity to ride the waves of a vibratory universe without direction or purpose, in short, their capacity to enlarge the universe by enabling its potential to be otherwise, to be framed through concepts and affects.* The visual result of Boryana’s intervention on the walls of the water tower focuses both on the natural human desire to control our surrounding living environment by enclosing it within the boundaries of our established perceptions thereof, as well as on how illusory and uncertain these boundaries are, and respectively, our ability to rely on the existence in a comfort zone of established concepts that set the direction of stability and balance in our life course, constituting a personal micro-world that is beyond doubt.
* CHAOS, TERRITORY, ART Deleuze and the Framing of the Earth, Elizabeth Grosz, COLUMBIA UNIVERSITY PRESS NEW YORK.
Curator: Irina Batkova