Here you can read some of the publications about Vassil Stoyev. Vassil Stoyev emerged in the artistic life of Bulgaria at a fortunate moment – when the ideologization of art had already been overcome and the artist had the freedom, though in a relative sense, to express through his paintings creative truths of his own. He did not have to fight against inveterate notions of the role of art, but was rather rendered the chance to quickly find his individuality. And he embraced this opportunity perfectly.

At first sight Vassil Stoyev’s works seem to be free, painted all in a breath, “sung”. This is certainly just one of their merits. But behind such a seeming ease of painting lies unsuspected constructive energy, which is best seen in the composition organization. Even when there are no figures at all, the picture structure is created by contrasts. Most often the free, even chaotic strokes, forming “an island” of texture in the middle of the canvas, are juxtaposed with relatively smooth one-colour surfaces. Another contrast results from the juxtaposition of bright and pastel single-shade spots. It is surprising how “dull” shades can become the source of intensive radiation, how the black and the grey can lose their chromatic neutrality and turn into deep colors. And finally, the sudden appearance of a contour line, one that does not draw, but rather marks a typical feature in a figure, stands out as a “graphic” accent on the painting magma. What lies at the heart of Vassil Stoyev’s paintings and determines his individuality is the effort to force a structure on the amorphous and make it meaningful.

The viewer senses in a tactile way the tension stemming from the contrasts in the painting; he follows the artist to live the drama of the conflict, which finds solution in a solid internal construction. This is what, in my opinion, fills the viewer with the energy the artist has put into his paintings. Thus, the viewer’s perception becomes more intensive and active. That is the reason why Vassil Stoyev’s pictures are by no means “comfortable furniture”, but rather energy spots in the interior, saturating the atmosphere with the agony and the ecstasy of a purely painting drama. The effect of Vassil Stoyev’s paintings stems from their loquaciously colourful combinations – triumphs of the expressive, lusciously laid strokes. However, the seemingly elaborate compositions are balanced by the power of their inner energy. The dynamic formal structures crystallize in a figurativeness that bears the original fascination of the artist’s philosophy of life, personally rationalized but cosmopolitan in spirit.

Vassil Stoyev’s works are popular in many countries through his participations in group and one-person exhibitions, international expositions and prestigious auctions as well. “….Vassil Stoyev is one of the most talented and famous Bulgarian artists of his generation, whose pictures are more and more often being displayed and sold by prestigious European (and not just European) galleries and exhibition halls during the last few years, and experts and critics keep writing favourable reviews and speaking of him as an interesting and original phenomenon in modern Bulgarian painting …..” It was even as early as his first paintings that Vassil Stoyev stood out as an inquisitive artist, never content with repeating the plastic solutions or ideas he had already reached.

In an early series of paintings with titles Studio for Dolls, Alone, Childhood, Man with Umbrellas, it was through some rather loosely painted figures that the young artist tried to find strong sensual impressions, so skillfully achieved through the persuasive emotional states of the images and the expressive provocation of the chromatic combinations. Here the inner spiritual experiences, stirred by long-forgotten memories or secret longings, have a dominating impact as compared with the external effect in particular.

In another series of paintings named Masks the decorative variety and the lavishness of colours dominate over the more profound notional content.

Being well acquainted with the law of simultaneous contrast and the gradation of light and dark tones, Stoyev builds his landscapes firmly into persuasive composition solutions.

A few spots, quite attractive in texture and colour, painted against a calm background, determine the outlines of the objects, reminding of buildings, trees, roads, hills or fields. Thus, through intensively symbolic means of expression, it is the atmosphere of the particular nature object, caught and reproduced on canvas by means of various colour combinations, that the artist is trying to find, rather than the objective reality. The basic constructive element of this system is the colour spot, free and dynamic in expressive decorative harmony, in which the leading role belongs to the linear rhythm, from the calm and smooth combination of verticals and horizontals to the vigorous dynamism of oval lines, cut in some places, stirring dramatic tension and anxiety. Thus, skillfully using the optical effect of colours and the linear and aerial perspective, the artist creates a strong and saturated space with no great depths on a few foreground levels.

Vassil Stoyev’s fourth one-person exhibition, recently displayed at the hall of the County Culture Council in Plovdiv, presented a young painter of refined and modern plastic style, actively reflecting interesting aspects of the dynamic contemporary life.