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3600 EUR



Single piece Signed Titled



50 x 40 cm
19.69 x 16 in







Acrylic on canvas

, United States

Already in the first decades of this century Malevich understood that absolute form and absolute color could only coincide with the end of painting. Abstract art thus matured the limits of the rational, but also triggered the irrational within abstractionism. The "signifier" became a sort of "healthy carrier" of that ego virus that over time determined ideological evolutions, splits, transgressions from the rigor of rationalism and constructivism.
With Angel Patchamanov's painting we are faced with an example of how the modalities of abstraction are integrated into the complex and autonomous meaning of today's visual art. Patchamanov is not dominated by the anxiety of homologation, as is the case with many strains of the new generations, but he appears willing to live the flow of existence with elasticity. In fact, his page offers us a world in constant movement and, consequently, change; where sometimes a figural image appears clearly, in some cases anthropomorphic, to establish the prevalence of issues related to man, his imagination, his dreams, in short, his essence and existence. Dora Vallier wrote about this: “When the question of the subconscious is raised in art, one thinks of surrealism. Undoubtedly because surrealism made direct reference by following Freud's theories to the letter, while abstract art, initially, seems to have resolutely turned its back on them "(D. Vallier, L’abtrattismo, Milan, Garzanti, 1984). As it evolves, abstract art has instead ripped up shreds of the subconscious, offering them to the eye without elaboration, in the form of a kind of stammering (Wols) or free-wheeling forays (Pollock). What Patchamanov proposes to us is rather characterized by a centripetal dynamic, where everything converges in a single inner vision ("A painting is no longer a construction of colors and lines, but an animal, a night, a man, or all of this together" stated the artists of the Cobra group). Patchamanov's painting has a fast pace, a barely dominated impetuosity, which expresses a vitality at its still imaginative origin, for which man is linked to all things and to the sense of mystery of nature. In this context, the emphasis must be placed on the term "vision": this interior mirror that reflects a life indistinct in rational terms, but thickly interwoven with the motifs of the imagination ... Especially in the most recent paintings the vivid colors and brushstrokes left in judgment to extenuating the pictorial gesture, they organize themselves to build forms and then systems of forms, more and more defined. It is a slow progress in the measure of oneself, in a process of acknowledgment and assimilation, of rapprochement between thing and thing: a device of progressive choices like the locks of a river, which filter it to the sea.
Such a formulation is accomplished by transposing beyond its own form an intact mass-light in its modulated efficiencies in decisive colors, and it seems the outlet of energies reborn from the visual experience, a response of the expression to the emotion that results in a singular capacity for specify those volumes and those images mirrored from within.

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Pietrasanta, Via Stagi Stagio 86


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