“Stoyanov fluently combines Surrealism with his early love of hyperrealism and in so doing creates thoroughly unique works of art enabling him to share his passion, beliefs and dreams. Parallels can certainly be drawn between Svetoslav Stoyanov and the work of René Magritte and Giorgio de Chirico through their execution of composition, delicate approach to the practice of chiaroscuro and extraordinary observational skills. Stoyanov’s artworks depicting boats and pianos floating on clouds are superbly imaginative and convey his immense intellect. In fact, both Stoyanov and Magritte express themselves with thought provoking motifs and a dreamlike narrative that resonates with the audience.
Svetoslav illustrates the nude form realistically and gracefully in his work, successfully evoking thought and emotion in the viewer with every painting. He combines several subjects in the compositions thus intensifying the emotional response of the viewer and the level of interest as the works transcend the unexpected journey into endless stories ready to be told. The spectator can also certainly identify a shared emotional and spiritual identity between Svetoslav Stoyanov and Max Ernst. Respectively, the artist’s paintings all tell a comprehensive story making them intricately powerful and meaningful as they use captivating hues which spark fascination and appreciation within the observer who discovers, with every look, something deeper to contemplate.
Stoyanov is tremendously imaginative and takes inspiration from an infinite array of stimuli. Whilst he has studied the works and styles of many artists, he has learned the most from the greatest teacher of all; nature. It is evident throughout Stoyanov’s work that he is incredibly observant and analytical of his surroundings and this clearly impacts his artistic style and approach. Svetoslav has a great passion for his art and a powerfully strong connection with his imagination and subconscious mind that is beautifully communicated in his innovative and unique creations which are a testament to his immense talent.”
Critique by Timothy Warrington (INTERNATIONAL CONFEDERATION OF ART CRITICS (ICAC))
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