RUMEN SAZDOV is a painter of contradictions. Even so we will try to consider his creative work as a whole. There is unity in it inspite of the fact that it could seem as an irresolvable contradiction at first sight. Signs of psychological states alternate , the pulse, breath, and human recordof events in a micro cosm as well a macrocosm can be clearly felt here.
The roots of Sazdov work, however, lie much deeper. Inhis search for hiz native language the Byzantineworld of monks, saints, and Madonnas became his model. He also looked toward the spiritual world of European Christanity. In an apparent contradiction he succeeded in reorienting him self from tradition to contemporary art. This development in the 20 century has two stable points, Prague and Paris. Like so many contradictions art is looking for its face. He found it at the ent of 1970´s in neofiguration and the growth in popularity of neoexpressionism in striking colors in painting and drawing, in playful grotesqueness, and not least in emphatic social testimony. At this moment we can justifiably recall the striking thoughts of the protagonist of European expressionism O.Kokoschka, who said about the historyof art:
„Unlike industry and technology it is necessary to look for the essence of artistic vision not in progress but in the organized growth in the connection of the past, the present and the future“
The history of art especially in Europe, confirms that the absence of interchangeability of artistic works consists above all in the fact that they can over and over again inspite every generation and it is just that which differentiates them from the infinite number of inferior period productions.
Insofar as expressionism becoming one of the main points of Sazdov´s thinking, it allows him, according to H.Read „...to freely artistically reshape a given theme to the extent that it corresponds to the unexpressed feelings of the author“.
...In his life in Prague Sazdov elementally builds on the European tradition of modern art of the 20 century so strongly, that the accumulation of energy of his paintings is transmitted to the viewer. It´s impact is provocative, but in no way for its own sake. The defiant and expansive gestures of the paintbrush unleash and internal struggle which on the outside is modeled in pastiche layers whose expressive discontent disappears into open space in order to reflect back on human feelings and the psyche. The essence is movement and at the same times is contradiction – the fixation of movement harmony is intentionally disrupted. It builds up relation and abstracts them into „reality“ and finally reduces everything simply on the basis of complexity into the resulting picture in which only one of many possible questions of today´s approach to art is contained.
PhDr Zbyněk DUDA