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Artist Statement:
During the past century there
was too much aggression and
hostility in art and life.
Because of this , I have
promised myself , I will to
paint for love and unity. For
unity between all people,
races, religions, man and
nature , and for the tolerance
between rich and poor. For me
this is not an abstract idea,
but my deep feeling and
belief.
As humans we need to
remember some very simple
things like joy, tears,
happiness...that is why time
in my painting is reflected by
a stillness. The history and
memory of mankind are
gathered in one place. My
painting is a message to all
people who need love and
beauty. What everyone will see
in them , has already
happened, is happening at the
moment or will happen in the
future . These images are
inspired by the memory of
mankind and the purest
vibrations that people feel.
These paintings are like
children to me and that is why
I am thankful if they bring
joy and satisfaction. Painting
, for me , is a kind of
thinking. It is a way of
living. It is a mission
impossible to give up.
Painting is a salvation for
my wicked soul...
Peter Mitchev...
Further Information
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Artist Exhibitions:
SOLO EXHIBITIONS
2003 Blue House Gallery,
Sarasota, FL, USA
City Hall, Hollywood, FL,
USA
2002 City Hall, Hollywood, FL,
USA
Galerie Celine, Paris,
France
Circles, Tampa, FL, USA
Palm Avenue Gallery,
Sarasota, Florida, USA
2001 Brad Cooper Gallery, Ybor
City - Tampa, Florida, USA
Artist Unlimited Gallery,
Tampa, Florida, USA
2000 ...
Further Information
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Artist Galleries:
Bryant Galleries
316 Royal Street
New Orleans, LA 70130
www.bryantgalleries.com
Brad Cooper Gallery
1712 East 7th Avenue YBOR CITY
Tampa, FL 33605
813.248 6098
SHER GALLERY AT HALLANDALE
135 NE 1st Street
Hallandale, FL 33009
954-454-8806
SHER GALLERY AT WATERWAYS
3585 NE 207th Street
Aventura, ...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Reviews for Peter Mitchev:
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Peter Mitchev is an authentic painter. I mean that he is not a painter - flatterer; I mean also that he doesn’t obey the accents of the new academism, which are clear about the aesthetic codes of a certain epoch. His inspiration obtained consciously or not from the sources of his native territory, straight from the earth forces of his Bulgaria, leads him to the original spirituality of his first cosmic emotions.
This is a painter who through the color of his questions of an artist recovers our inborn trend towards the light and the reflexions it makes. And thus, not belonging to one school or another, he underlines his personal mystic through deviations, multiplying the religions and their symbols.
In the western world, so sophisticated, materialistic and complacent, where many painters wish to be accepted, he arrives like a magician, coming to heal the wounds of the broken senses. This may make him naive in the eyes of certain people, but this is the simple, naked truth, which with every new experience and every new exposition reveals a wonderful mastership.
There isn’t an art, more solitary than painting: the writer communicates always with somebody; the musician with God or instruments of God; the painter is accommodated only with his intimate perception for the secret of the things intuitively. And from this point of view Peter Mitchev is really an authentic painter. He is leaving himself on the dictate of his own nature, terribly human in the art to please the others. That’s why he will always be popular, this is the fundamental quality of an artist and this is the most difficult to attend.
Guy Shelley
Paris, France 1998
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On first meeting Peter Mitchev, my curiosity was aroused by his imposing yet easy-going manner. I thought to myself, "what does he (his work) really have to say?" A painter who has come from an experience generally removed from art in America. "What could he have to say that is relevant?"
After years of looking at a considerable amount of art, I thoroughly question how can an artist’s work influence my present-day experience? I always seem to go back to college days when A.L. Whitehead was entrenched in the stem of my brain; "the resulting pattern is determined by the character of the event." This fundamental of physics rules my decision making and leads me to reason that a significant work of art must come from a genuine character, affirming the human experience.
Unable to escape the formalism of Byzantine tradition and rising from of a culture of distinctive character, Peter Mitchev is driven to create. His sensibility originates from his most basic structure, and his belief in the individual.
A certain impulse is kindled and transmitted through his arm to his hand. I have never known an artist so insistently continuous in his exploration of ideas.
For Peter Mitchev, pictures emerge from within. Images materialize from the inner depths of dream and ecstasy. At the same time, his painting projects how he would like the outer world to behave. Mitchev reveals a reality behind what seems to be a visible event; expressing that the visible world is simply an isolated case in relation to the universe, and that there are many other, conceivable realities. Clothed in rich costumes, perhaps the products of Byzantine looms and a deep coloring of the surroundings, we see living personages, posed in a spiritual world; we feel the divine.
In reflecting on his work, after leaving it, our view of the world has actually changed from a material perspective to a spiritual reflection. If we continue to look, we see that Peter Mitchev has truly cultivated the power of his vision and he wishes to share with us the soul of his character.
Brad Cooper
Brad Cooper Gallery 6/23/01
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Peter Mitchev is one of the most peculiar contemporary Bulgarian painters. In the last two decades, when his talent developed entirely, he frankly and consecutively carried out his parallel, unintercepted with the common spate, line of creation, following his inside impulse and listening to his impeccable art instinct - rather hidden than advertised, with an incredible energy and a will for work.
From the early works of the painter, marked by a quiet melancholy and packed in the blanket of refined monochromic “ sfumato “, up to the latest works, which compete in complexity and depth of pictorial tone with the ancient precious mosaic, Peter Mitchev passed the stages of one logic and brilliantly defended individual creative evolution. The strength of the intuitive beginning that defines the appearance of the pictorial image straight on the canvas, without preliminary designs or compositional versions, is like the psychophysical transmission of images, engendered obscurely where and when, enigmatic and inexplicable.
Peter Mitchev is using the whole “ stock-in-trade “ of his painting device –brush, pallet, fingers, needle, in order to build a complicated polyphonic texture; to form the exquisiteness and the decorative charm of the ornament; to stylize or mould freely; to differentiate plastic the figures and the surrounding. The humans` faces in his paintings are not the usual characters or actors, taking part in a kind of a play, story or situation – but rather plastic signs, locked in themselves, strange and opaque “ monads “, fixed by the force of the painters` imagination to the putative metaphysical space, where the attributes, the gestures, the location of the bodies assume a second,“ magic “ meaning. In those frieze-like compositions is detected something from the Egypt relief; something from the processions of Piero de la Franceska; in the symmetry of the composition and the intensive freeze of the figure – reminiscences from the Byzantic and the old Bulgarian icon; in the mosaic decorativeness – drifts from the secession of Gustav Klimt. The painter likes the reiterated iconographic motives, the original combination between the surface-decorative basement of the background and the three-dimensional density of the faces – lighted up from inside, slinked in a quiet trance.
The attained original symbiosis between the iconographic beginning, surrealism and symbolism is a personal achievement of Peter Mitchev and represents one of his most essential and original contributions in the rich panorama of the Bulgarian contemporary art; in fact, it is a subjective view of a painter who absorbed both the ancient national traditions and is open up for the modern conception of the world.
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Chavdar Popov,PhD M.A./art criticism
Sofia, Bulgaria 1993
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