Curiously enough, and unlike most cases, TT’s place in our artistic and cultural space is not due to some repetitive stylistic manner (or mannerism), easily recognizable as a trademark would be. On the contrary: it is realized that at a certain juncture, in certain complicated and singular circumstances, only Todor Todorov could have produced that singular piece of art.
In this exhibition Todor Todorov surprises – again. On two fronts. The first is that we are presented with a sculptural series, openly constructed around one and the same theme; and not vv.: a multitude of works that gradually build up and flesh out some thematic announcement. With authors such as Todorov, a series dedicated to a single theme is a rare thing. The second surprise comes from the treatment. It is tied to the specific meaning of the musical term Streich. The bow-and-strings are fundamental to orchestration and their numbers and composition are subject to the strict rules of sound characterization. The Streich is massive in terms of the number of instruments and diverse as to registers, size, and allocation. String instruments may perform solo, in groups or the full orchestral ensemble, displaying both individuality and repetitiveness, which is one of TT’s motives for making a sculptural series.
TT’s talent creates the opportunity for a multi-layered experience, allowing the spectator the rare pleasure of oscillating between the two main theses, that of the musical instrument, creator of sounds, and of man, the creator of the music.
The shape unfolds with mathematical logic as in origami and puts one in mind of the unfolding harmonies of Bach. These musical humanoid shapes are very categorically cut as to silhouette and proportion, and that clarity of stylization makes them akin to totem poles! But totem/s of what? Of matters musical or human?
With this exhibition, Todor Todorov displays yet again his unstoppable evolution in the wide range of approaches typical for him.”