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Andreana DOBREVA

The foundation of Dobreva’s practice is her contemporary reinterpretation of Old Masters and Rococo paintings of the 17th and 18th century. She pics actual existing paintings as starting point, which she then fully transforms on the canvas through her own abstract painterly language. These underlaying historical sources – providing the paintings with figurative aspects – form part of the aforementioned dualism, on the other side of which stands abstraction. Even though the former Rococo source, which the artist has been exploring and looking at, is nearly indecipherable, and human figures or parts of fruit still lifes shine through merely visibly as silhouettes, they stabilize the flow of the eye on the canvas for a brief moment. For instance, in Dobreva’s small-scale works on paper of female Rococo portraits, the visible facial features, such as eyes, nose or cheeks of the depicted provide a moment of pause, a counterbalance to the abstract parts. 

 

The other pole – the contemporary abstracted brush strokes – destabilizes the composition and sets things again in motion. Shapes disintegrate, forms pour into forms, flowing in, out and into one another. The artist’s pictures become pure essence of paint. But also in this fluid state, when the abstraction and the total alienation of the historical source has reached its peak, the Rococo quality does not fully reside but remains palpable in Dobreva’s paintings: The theatrical settings, the dramatic sources of light, the choices of colour and the exuberant brushwork all speak the lush, ornate language and plasticity of the Rococo despite their contemporary appearance. When the viewer looks at the brush strokes breaking up the components of the underlying Late Baroque paintings then he or she will notice that they form lush and dramatic curves and counter curves, which again resemble ornamental shapes that are reminiscent of the stylistic means from the Rococo period. 

 

In Andreana Dobreva’s  large-scale oil paintings another element receives the opportunity to manifest itself and to come further into the foreground: The element of chance when the artist decides to withdraw from the active process. Paint drippings are a defining compositional element. The artist retreats, gives up her control and permits the paint in specific parts of the picture to flow, allowing the drippings to take over the creative process for a moment. 

Exhibitions at HELDENREIZER

  • 2021 - "Against Nature", 12.11. - 31.12.2021 in Munich

  • 2019 - "trans/rokoko", 05.- 07.12.2019 in Munich

  • 2019 - "ANGST", 21.-23.02.2019 in Munich

  • 2018 - "UNKLASSISCH", 22.-24.02.2018 in Munich

Vita

  • Born 1982 in Siven, Bulgaria

  • Works and lives in Munich

  • 2008-2012 Educational Science and Psychology studies at Ludwig-Maximilians-Universität, Munich

  • 2012-2019 Painting and Graphics studies with Professor Anke Doberauer and Professor Florian Pumhösl at the Academy of Fine Arts, Munich

  • 2019 Diploma from the Academy of Fine Arts, Munich

Publications

  • 2019 - Marcus Trautner (Ed.): ANGST - Alessandro Bostelmann, Andreana Dobreva, Sebastian Gallschütz, Sebastian Maas, Tom Messavilla, Tibor Pogonyi, Eunji Seo, Yuhao Chen, Heldenreizer Contemporary 2019, ISBN 978-3-9819524-3-8

  • 2018 - Marcus Trautner (Ed.): UNKLASSISCH - Andreana Dobreva, Sebastian Maas, Christian Sedelmayer, Heldenreizer Junge Kunst 2018, ISBN 978-3-9819524-0-7