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Biography

HRISTINA MILANOVA, J
www1straniza
Hristina Milanova
Bulgaria 1976


Finished her studies of Economy in 2002 and worked in the family business of fashion apparal manufacturing. Also same relatives of her are international classic musicians. Hristina Milanova visited Majorca in 2000, where she remains in love with and ´trapped´ by the spiritual island.Her more internal search is produced by a large emotional change in 2003, two years before her first child was born. It was when she started to add value to the creation of everything that surrounds us and the power of the human mind as observer. She starts to feel many concerns. Milanova searches, invests and fights with the finality of evolving and not touching the roof in her possible limitations to convey her vision like an artist.She realizes various studies of fashion, finalist in ´Art Jove´ 2005 with an experimental collection called ´Aisha Zaliv´. She studied photography, dance, music composer and image editing. Her passion for architecture and Asian philosophy drives her to further investigate human behavior and emotional patterns in time and space. Firs music album made in Oxford with the collaboration of producer and compositor Sam Williams. Finish  the second album in 2015  with the collaboration of yong producer Miki Leris precented in the last project installation Free Fall Nit De L´Art 2015, Palma in Gerhardt Braun Gallery. The sound became part of her Art installations.

 

To Be Space is the title of the artist‘s most recent series of artworks: to become space, redefine space, use space; to live in harmony with the environment that we create so as to become part of the space. The spaces are installations, full of references to colour and light, to energy that establishes a strong connection to the five elements of ancient Chinese philosophy: water, wood, fire, earth, metal. This combination of European pictorial form and Asian thought is yet another example of a very contemporary, hybrid way of thinking that is contributing to changes in all aspects of our world. This is true for modern forms of energy, politics, diet, medicine, visual art, music, etc. Milanova is an artist of the 21st century who no longer trusts the solutions proposed by the previous century. At the time, Joseph Beuys assessed the situation by stating, “Art is in crisis. All areas are in crisis.“ (J.B., Cologne, 1973, p.163). In her paintings, Milanova shows us a possible way out of the crisis. In order to do so, she needs the spectator as a partner, whom she not only conceives of as an intellectual participant, but as a whole person.

The theory of the five elements runs deep in Chinese philosophy and is important to shiatsu, feng shui, tai chi chuan, qigong, etc. The elements are a gateway to a broader understanding of the world in which creativity is an integral part of life. The elements are not understood in terms of their material nature, but rather as energy existing between materials. They form part of a philosophy of nature. In Europe, on the other hand, the Greek philosopher Empedocles (circa 495-435 B.C.) developed a theory of four elements (earth, fire, water, air). Seen as stages of transformation that can also oppose one another - fire and water, for example - the five elements theory allows us to arrange these forces into a vast Gedankenbild or “thought picture“ based on the number five.

The artist is drawn to this world of thought, because in it she sees the promise of a new and different quality of life. Her paintings are proof of this fascination. However, Milanova is not interested in illustrating these ideas. She isn‘t creating a new Book of Changes or developing hexameters. But her knowledge of these things is an underlying element of her paintings. The titles confirm her affinity for Asian thought. In his reflections on art in “The Importance of Living“ (Stuttgart 1982, p. 421), the Chinese writer Lin Yutang (1895-1976) writes about his artistic appreciation for life, “Art is both creation and recreation. Of the two ideas, I think art as recreation or as sheer play of the human spirit is more important.“ Milanova‘s artworks contain these very same, playful emotions; playful yet ruled by the head. What the artist most clearly conveys is how she is creating a new picture of life under the Majorcan sun since she left her homeland, a picture that is not intended as a continuation or break with tradition, but rather as a new, free awareness of life. And she translates this into heightened, intense sensations in all senses.


Prof. Dr. Dieter Ronte