24/10/2017

I am very excited to announce that I was invited to exhibit my work at Symbiartic - SciArt exhibition at Sofia Tech Park, part of the 2nd International Biomedical Congress Sofia, Bulgaria. It is the first time I am going to show my art in Bulgaria, where I was born, and this is really very exciting and important event in my life. Can't wait to see many old and to make lots of new friends. This is link for you to read more about it

06/12/2016

HALOCLINES
I would like to announce that the first collaborative work between Iavor Lubomirov and Valeriya N-Georg will be exhibited at:

JESSICA CARLISLE GALLERY
4 Mandeville Place
London W1U 2BF

Iavor Lubomirov in collaboration with
Katrina Blannin, Abi Box, Lee Edwards, Rab Harling, Lee Maelzer, Valeriya N-Georg

Private View: Tuesday 13th December 6-9pm
Open: Wednesday 14th to Sunday 18th 12-6pm

‘Haloclines’ is a project by Iavor Lubomirov exploring the making of work in collaborative pairings. Through a body of collaborations with six other artists, Lubomirov is searching for the visual and conceptual boundaries that form between two artists’ interventions within a single object – those edges where the eye can suddenly discern the beginning of one artist’s hand and mind and the end of another, and vice versa.

The exhibition takes its title from the visual phenomenon which occurs within a confluence of two bodies of water of different salinity - a halocline. In this project there is a similar sense of two different exhibitions embodied within the same collection of work. Both a solo project and a group show, Haloclines carries notions particular to Lubomirov’s background as both an artist and a curator and of the kind of relationships and conversations that emerge from this experience. Thus the exhibition reads like a curated group show, comprised of different, but related objects and styles, while simultaneously it should be possible to observe, emerging amongst these diverse works, a clear, unifying, underlying whole, with visual veins of geometry, running through the works in the form of squares, rectangles and ellipses, of systematic assembly, and recurring elliptical curves, which speak not just of the mind of a curator, but also the hand of a single artist.

Lubomirov’s work is primarily sculptural. He aggregates physical shapes, usually built up in layers, as a way of exploring the materiality of time through the sequential accumulation of matter. For the most part, in this exhibition, he has sculpturally transformed the work of other artists by cutting and reassembling their paintings, prints or photographs. The interweaving leitmotifs are the positive and negative ellipse-based prism, or column. The process is reversed for two of the collaborations, so that Lubomirov’s work in turn becomes the basis for another artist’s. In one of these, an early paper sculpture is deconstructed into its individual layers and its negative spaces ‘plugged’ with printed images, cut to size. In another, Lubomirov has lent his geometry to a painter, who then interpreted and transformed it using her own language and intuition about shape and composition and adding elements of colour and space.

The exhibition is designed to change its aspect according to the viewer’s position within the space. Visitors are invited to walk around the work and observe the show from different parts of the gallery.

About the artists

This project began with a conversation between Iavor Lubomirov and painter Abi Box in 2014, prompted by observations about the freedom with which Box paints in contrast with the precision and linearity of Lubomirov’s sculptures. Abi Box’s painting is inspired by the different places and environments she visits, and in them she is looking to challenge the viewer’s sense of depth by rearranging space on the canvas while moving between figuration and abstraction. Box began a work on a canvas with the specific intention that Lubomirov would then be free to dismember and reconstitute her work, allowing Box to approach the painting with a ‘liberating sense of detachment and experiment’. The imagery was drawn from landscape, forestry and photographs of a stone wall covered in lichen, almost map-like. Lubomirov in turn responded to the linear markings and map-like structure of the image through the use of vertical cuts and a curved spatial warping of her image. He was particularly interested in compressing its sides through increased overlap of the cut layers around the curve, much like the way that map topology becomes stretched and distorted when moving between a globe and flat-map format. Both artists’ work outside the collaboration was influenced by the experience: Box becoming more aware of the significance of drawing in her paintings and Lubomirov allowing a much freer line cutting and construction, so that it is possible to observe organic undulations in the surface of this sculpture not present in his work heretofore.

Soon after, Lubomirov and Rab Harling started talking about making work together using as source material Harling’s series of photographs taken inside the controversial Balfron Tower over the space of many years. From the earliest stages of Harling’s epic project, Lubomirov was involved in a curatorial role, exhibiting the work as it developed in two group shows and one solo show spread over four years. From the start, Lubomirov was fascinated by Harling’s systematic and precise method and by the structured nature of his series of images. For Haloclines, Lubomirov has finished the first of three planned collaborative objects, in which he is looking to excavate and open up the vast cellular interior of the Goldfinger building, together with its now lost human history, which is so richly captured in Harling’s work.

Lee Maelzer is a painter whom Lubomirov first met as an artist during a project in Sweden in 2008 and when he later opened his first gallery in 2009/10, Maelzer was one of the first solo shows he curated. He has since both curated group and solo shows with Lee Maelzer’s work, exhibited with her, shown his own work in an exhibition curated by her and exchanged artworks. Once the seed of a show of collaborations was planted, the idea of approaching Maelzer for a canvas to cut soon followed and she responded with a detailed work of a hillside covered in a rolling blanket of stones. Maelzer often depicts vast accumulations of debris such as man-made rubbish, or wild sprawls of back-garden flora and she was interested in the possibilities of further fragmentation that might result through Lubomirov’s methods of dissection and reconfiguration. For this collaboration Lubomirov responded by experimenting with assembling curved, rather than straight layers, to add a sense of vertigo to Maelzer’s already dynamically loaded image, in which the piles of rocks and stones barely held back by sparse bushes seem on the verge of landsliding off the bottom of the canvas.

In 2014 Lubomirov’s work was part of an exhibition curated by Becca Pelly-Fry entitled ‘Perfectionism’ in which there was also work by Lee Edwards – a set of finely executed miniature portraits, painted, or rather drawn with a brush, into cross sections cut out of tree branches. Drawn both to Edwards’ method and his empathetic response to the material on which he works, Lubomirov approached him with an idea that would balance his role in the other collaborations initiated at that point. Lee Edwards has a fascination for the prominence of the ‘negative space’ within his works- the areas of untouched surface which surround, contribute to and have a relationship with the work being made. In this collaborative piece he has responded to an empty void defined by the shapes cut out in a sub-relief paper sculpture created earlier by Iavor Lubomirov. Whereas Lee usually works within the mediums of drawing and painting, here he utilises printed images, cutting them to size, layering and plugging in the gaps.

In the same ‘Perfectionism’ exhibition, Lubomirov first came across Katrina Blannin’s paintings. Later Lubomirov and Blannin also showed together in a project at the Oxford University Mathematics Institute and thus became more involved in conversations about the place of geometry in art. Lubomirov approached Blannin about working together on a set of geometric permutations of squares which he had been thinking about for a number of years. Katrina Blannin is interested in processes of experimenting with simple systems – palindromic and isochromatic structures – aiming to produce paintings with logical clarity, and spatial and material character. In her work she re-examines historical colour theories and early Renaissance painting conventions, specifically concerning form, and transfers these into an investigative process which asks questions of later constructivist and concrete art, in order to generate new possibilities. Taking Lubomirov’s simple visualisations of cyclic permutations of incrementally sized squares constrained within a larger square, Blannin has produced three paintings for this exhibition, which are themselves like components in a larger possible space of permutations, or letters in a word.

The final piece in this show is a collaboration with printmaker Valeriya N-Georg. N-Georg is inspired by Neuroscience, Psychology and Consciousness Studies and works with a range of media: drawing, printmaking, sculpture, digital and mixed media. She combines digital production with making by hand and has developed experimental new techniques for making monotype prints, based on layered acrylic gel on boards and light box installations, which she scans, collages and manipulates digitally to create large scale digital prints. Influenced by Antonio Damasio's research on the role of emotions and feelings for our life-regulating processes and well-being, Valeriya N-Georg created for this collaboration a translucent monotype layered gel print with an image of the Oxytocin hormone, referencing the experience of working with someone else, of trust, anxiety and joy. Lubomirov has in turn disassembled this into small pieces and built them into an upright cylindrical form, so that N-Georg’s image is both contained within his sculpture and also wrapped around it. By using transparent pieces of Perspex, and raising the work vertically, Lubomirov is also allowing light to come through N-Georg’s image, drawing out the translucency of the material and the visceral skin like quality of the image.


Please click here to visit Iavor Lubomirov website ...more

25/06/2016

Exhibitors Official Communication/ Official Press Release

Without a name, an unseen face

Without a name; an unseen face and knowing not your time nor place, Tomorrow’s Child, though yet unborn, I met you first last Tuesday morn. The beginnings of this poem by Glenn Thomas was read by Ray Anderson during his TED conference talk regarding sustainability, but today its ethos is being addressed by the charity Parent Infant Partnership (PIP) UK who are facilitating an exhibition in Parliament, to continue focusing the hearts and minds of policymakers regarding the experience of being a baby in the UK.

The origins of Monday’s Child is fair of face rhyme with its beginnings in the mid-nineteenth century, used a fortune telling methodology to predict the life chances of childhood. Today there is incontrovertible scientific understanding which is contributing to policy discussions of the 1001 Critical days: conception to age 2 period – asking for a cultural shift in thinking about the importance of the antenatal period and its significance for future life chances of the unborn baby.

Tomorrow’s child exhibition presents a creative response to the only cross-party children’s manifesto in the country which brings together a coalition of policy-makers, professionals and parents, to enable the village around the infant-family in our local communities.

Should the day in which you are born determine your life chances? Giving every baby the best possible start in life presents us with a challenge and responsibility to consider together what that looks like in the UK. How well we are doing with what science and economics is showing us is a progressive way of thinking for better outcomes for our citizens.

Earliest relationships and children’s experiences of this right from their experience in the womb, lays the foundations of potential and building blocks to support infant and early childhood mental health.

Creative collaborations between a community of 60 artists and scientists have generated a fascinating menagerie of art objects, images and designs, which positions this exhibition as a pioneering piece of neuroscientific enterprise.
Building babies minds has been a recent campaign launched by the charity PIPUK, recently saw over 10 million people across the UK engaged in raising awareness of infant mental health in the first national week of its kind. Infant mental health and its public message of prevention as cure, contributes significantly to children’s mental health and it is in this context that thinking about a child’s life chances can be thought about – preventonomics to give a better start for investing into our future generations.

Tim Loughton MP says “There is a growing acknowledgment that those first early years of a child’s life are absolutely crucial. Getting it right as parents supported by professional help and public investment where needed has the potential to make a huge difference to how that child will grow into an adult contributing to society.

Putting this approach at the heart of what Government does in which there is now buy in of all the political parties. I’m delighted to be sponsoring the Tomorrow’s Child exhibition in Parliament which is a creative response to the 1001 critical days’ manifesto from a community of artists and scientists who have worked in collaboration over many months to bring the arts and science together for such an important topic”.

Bringing art and science together to represent the names and faces of the 776,352 babies born each year in the UK and the many losses which add up to 3,564 stillbirths, 42,841 recorded miscarriages and around 186,000 through termination of pregnancy brings a focus for the infant-family and all of the joys and sorrows experienced in homes throughout our villages, towns and cities.

www.1001criticaldays.com
www.pipuk.org.uk


I am very excited to finally share with you that at the beginning of 2016 I’ve been selected to collaborate with a scientist for an Art & Science project responding to the 1001 Critical Days cross party Manifesto with an exhibition as a creative response at the UK Houses of Parliament titled ‘Tomorrow’s Child’. The project brings artists and scientists together to respond to the topic of the pregnancy and the child development from the conception until the age of two and raise awareness of the importance of social and emotional wellbeing. The exhibition covers different aspects of child development from the conception until age of two.

I’ve been paired to collaborate with Kitty Hagenbach, perinatal and parent/child psychotherapist with 25 years experience in the fields. After our conversations on the topic I’ve decided to put the mother and the baby together in a womb as their relationship start since the conception. Everything what the mother feels and experience affects the embryo and the future human being’s life, which play a huge role for our society and the quality of life.

My works are like a huge colorful ultrasound images capturing the baby’s emotional movements in the womb during pregnancy. The drawn fingers represent the very unique touch and emotion exchanged between the mother and the baby. My art installation and Kitty Hagenbach’s scientific abstract paper are titled ‘Deepest Imprints’ as during the baby’s development in the womb all of the mother's emotional experiences imprints in the future human being and affect every aspect of life.

The artwork 'Perfect Harmony’ shows the mother and the baby in a harmonious relationship, which is result of the mother’s happy state of mind. The second artwork ‘Anxious Touch’ showing the mother that is stressed from the life’s difficulties, result of an unsupported pregnancy. The baby feels all the emotions and feelings experiences from the mother. You can see the baby’s foot kicking out and the hands touching the mother’s face trying to calm her. I’ve made the mother hands bigger as she has to be able to manage with everything by herself and to remain strong enough to keep good care of her child.

Exhibition dates: 27th June – 1st July 2016
Unfortunately the exhibition will not be open to the public, but you can visit the exhibition website and take a look at all the artworks exhibited, read the scientist’s abstracts and the 1001 Critical Days Manifesto which has the support from every party across the UK. The Manifesto is a key policy commitment to achieving better perinatal mental health and stronger attachments between babies and their parents.
The previous Children’s Minister Tim Loughton MP sponsors the exhibition, which showcases nationally recognized artists and scientists.

The images of my two artworks you can see above and below the text.

Artist - Valeriya N-Georg
www.valeriya-n-georg.com

Below is Kitty Hagenbach's abstract paper.

DEEPEST IMPRINTS

“Emotion-based mother-infant attachment communications are essential because they directly affect the development of the brain” Dr Allan Schore.1

Valeriya’s artworks depict mother and baby in the womb – our introduction to the world. They highlight the powerful impact of a pregnant mother’s psychological, emotional and physical state on her child’s development during the first 1001 days.

The emerging science of epigenetics reveals that genes can be switched on and off by the environment, therefore the experience in utero exerts a significant influence on a baby’s life-long mental and physical development; our health at every level is determined by our experience in the womb.2

‘Perfect Harmony’ shows mother and baby in attunement; baby feels safe, secure, trusting and loved. Successful prenatal bonding fosters secure attachment, a crucial foundation for all subsequent development. A contented baby is a joy to care for and likely to meet their developmental milestones and reach their full potential.3

“Meeting these emotional needs fosters secure attachment. Secure attachment leads to a background state of emotional wellbeing, and emotional wellbeing is critical to physical wellbeing.’1

‘Anxious Touch’ offers a contrasting reality; mother and baby looking away from one another as though appealing to the outside world for help. This mother appears unsupported, stressed, perhaps frightened. Her baby seems equally disturbed, anxiously kicking out while caressing mother’s face, seeking to comfort her. We sense baby’s insecurity, isolation, confusion and fear. This reduces the likelihood of reaching full term or later being able bond or attach securely. A stressed baby is difficult to care for, and may develop behavioural or mental health problems.4

We have an opportunity and a duty to raise worldwide awareness of the crucial importance of the first 1001 days. Our goal is to make available and accessible a range of early interventions and support for pregnant women and their families. By enhancing the experience of mothers and the babies they carry we can foster a healthier, more compassionate and caring society, reducing dependence on government and world resources.

Collaborating with Valeriya has been truly inspiring; the fingers in her images reference the many ways in which we touch one another. Artist and scientist, yet we are united in our conviction that every aspect of mother’s experience during pregnancy has a formative influence upon her baby. I feel the images born out of our shared understandings convey with great clarity the importance of nurturing our life enhancing ‘Deepest Imprints’.

Kitty Hagenbach MA Dip Psych
Perinatal and Parent/Child Psychotherapist.

1 Schore A on Life Long Health http://www.letsgrowkids.org/blog/dr-allan-schore-early-relationships-lifelong-health#sthash.SHmlct1q.dpuf [accessed 16 May 2016].
2 Glover V, June 2014, Royal College of Psychiatrists The impact of prenatal depression, stress and anxiety on the emotional, behavioural and cognitive development of the child; implications for prenatal psychiatry.http://www.rcpsych.ac.uk/pdf/IC14 S32 Glover Vivette.pdf [accessed18 May2016].

3 Wirth, F, Prenatal Parenting, chapter 1, page 7, Regan Books, USA, 2001.

4 Gerhardt, S, Why Love Matters, chapter 1 page 21, 2nd edition, Routeledge, UK, 2015.

You can find more about Kitty Hagenbach on her website: Just klick here ...more

02/02/2016

Link, please click here...

04/05/2015

'Grey Matter'
Original Digital Print
Valeriya N-Georg
Mental Health as a level of psychological well-being is inseparable part of my research. Maintaining good mental health is crucial to living a long and healthy life. Now day’s lots of people suffer from depression, anxiety, bipolar disorder and so on. The ability to enjoy life and he flexibility to deal with life's inevitable challenges is really important in the process of achieving the so desirable happiness.
The Brain plays a central role in Mental Health. Mental illness is a condition that negatively affects human’s thoughts, emotions, and behaviours. My artwork ‘Grey Matters’ is inspired from the imbalances in brains chemicals which causing abnormalities in the communication among the neurones. It is a monotype layered gel print, which is scanned and manipulated digitally to create digital print specially made for the ‘Brain & Mental Health’ NeuroArt exhibition during Mental Health Brain Awareness Week and Auction at UCL to support this wonderful cause which will help raise awareness about the importance of mental health and raise funds for charity SANE!.
EVENING VIEWING is on 15th May at 7:00pm - donations at the door for SANE and there will be drinks!
https://www.facebook.com/events/785167104914865/

Map to the venue: http://crf.casa.ucl.ac.uk/screenRoute.aspx?s=1309&d=785&w=False

Finally, the award ceremony and auctions will be on 16th May at 6:00 pm. Please join the Award Ceremony event here: https://www.facebook.com/events/879120452129591/

All artwork will be auctioned and the proceeds will be donated to the mental health charity SANE.

http://www.uclneurosoc.org/artexhibition.html

06/11/2014

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06/11/2014

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14/10/2014

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14/10/2014

Science Inspires Art: The Brain. New York Hall of Science, Queens. Opens Oct. 11. Adults $11, children and seniors $8. ...more