The anticipation, and later on the definitive determination for the ecological creative conception of the young painter Aleksandra Hadji-Naumova, started in her early student days spent in the studio of her professor Simon Shemov.
The fascination by the alchemic play during the manual creation of paper from different types of cellulose, represent extraordinary creative provocation for this artist. The very process of creating paper she understands as a fundamental creative act. It is reason and consequence at the same time, starting and final point, purpose of itself and by itself. The paper is a complex archesource for her, in which the time and the time of condensation of the cosmic energy
is stratified and hidden. In that materia prima from what everything starts and in what everything finishes, Hadji-Naumova recognizes and finds her own nature and the creative identification of her inventive imagination. Through the process of the gradual metamorphosis, recreation of the precreated matter, Hadji-Naumova tries to make actual the invisible but everywhere present general principle, which we can define as a metaphor for sort of transition from Nature into Culture.
With the visible presence of decant on the trace of the nature towards the art, the author, in situ, through her puristic-ludic relation articulates not only her own nature and her attitude toward the nature,
but the nature of her art also. Hadji-Naumova manifests to us pregenerative, generative and postgenerative principle at the same time, through the established triad of the mutual emotive dialogical balance. On that way, through the process of her subtile, unconscious play with Eros, she spontaneously announces and affirms the women's, the mother's generative principle indeed.
In the abstractly conceptualized, manually made acts, we feel the emotive, palimpsest contemplated, ludic weaving of the ecologic created and ecologic coloured "paints". In the phone, our reception can see and feel her subtle polyphonic dialog with the different elements from the nature. The mutual synchronization and
overlapping of the stratums and their coloristic harmonization, (deprived from the additional classic painting intervention) emanate the esthetic of the ascetic. Under her "parchments", more precisely palimpsests, we try to differentiate the lower from the higher layers of the paints. The necessity of our sounding and discovering of the stratigraphy of her paints will disorientate us. Instead of the deepness of the invisible, she will seduce us, she will transfer us toward the surface, leaving us to disappear between the center and periphery of the composition. At the surface of the visible we will only register the constitutive structure of the disintegrate mimetic morphology. From the dense synthesis of the layers, we will only recognize the resonance of the concentrated play with the matter,
which will simulates the "informal" methodological acting. The composition, which is always controlled and differently vivid, is knitted by the whole net of short and long linear coloristic movements, which can suggest us the dripping procedure on the moment. The lower monochromic colored surfaces peer from the stipulated transparent compositions, perforated somewhere and weaving the complex biomorphic net of the compositions. The engaged receptiveness of the twisted sorts of cellulose, their natural color, facture and texture, will unsuccessfully provoke our discovery and uncover of the traces of the lower layers.
The change of the observation angle, e.g. their interception from the aeroperspective, emanates to the observer some geographic maps, some unknown topological zones, full of joy and light. In relief space configuration reveals the tactile values of the compositions, provokes the observer to mutual interaction and call him to join the travels through the pure landscapes of her creative imagination.
