My gardens
Graphic exhibition of Lyudmil Georgiev / “Sredets” Gallery at the Ministry of Culture/ 19.10.2022 – 31.10.2022
Viewed in general, the garden can be thought of as a piece of land, the fruit of the eternal human striving for order. Already thousands of years ago, the desire to create an order different from that operating in the natural environment provoked people to create the first gardens.
It is no coincidence that one of the Seven Wonders of the World, although it has disappeared today, is the complex of hanging gardens in Babylon built by the Assyrian queen Semiramis. The place where, according to the historical account, in the era after the sweeping World Flood, the Tower of Babel was erected. The Bible informs us that the people scattered across the earth until then spoke one language, but their attempt to build a tower to reach heaven angered God. What’s more – He was so upset by their audacity that, as a kind of punishment, He created the different human languages and scattered them on the earth. Thus, in the generated alienation and chaos, man is condemned to the eternal need to build order and approach in his communication with the Other.
It is in the context of this need that the new exhibition of Ludmil Georgiev – “My Gardens” can be thought of. In the graphic developments, bringing together his latest creative searches in the field of graphics, the author, in opposition to our sense of unprecedented disorder, searches for his gardens. That little space where he can play Demiurge. But as the artist himself notes: “These are not the gardens of paradise, nor the “Garden of earthly pleasures” of Hieronymus Bosch. These are just my gardens.’ And if we look at his graphic works arranged in the exhibition, we can’t help but notice that the author incorporated his own understanding of order in them. Territories in which, with the help of graphics, he builds his picturesque gardens – illuminated by the light, the sun or the moon, who can tell us.
Gardens in which an unsuspected harmonious unity emerges from the apparent disorder, generated by the artist’s sensitivity to the surrounding reality. These are gardens that are unlike anything else before, but at the same time we can “step into” them as something of our own, personal. In them, every estrangement has become a pacifying force, and in the apparent chaos, lines and spots are connected in an unimaginable unity. As if in a garden of earthly pleasure, as if in a personal paradise village, where sin and pleasure, suffering and purification continue to mark our own humanity
