SASHO STOITSOV – the ever rebellious child of the Transition period
article: Maria Vassileva
In 1996, Sasho Stoitsov presented the installation “Saxophonist in the Bathroom” at the Ata-ray Gallery. The main element in it is a large painting depicting a young man playing the saxophone in the corner of a typical bathroom from the socialist era. The miserable setting speaks volumes about a particular historical period and a life lived on the edge of the bearable—familiar tiles from an extremely limited market selection, a ceramic pipe openly running through the corner of the room, a boiler with various (always slightly leaking and wrapped in hemp) faucets, and a shower—one single model that remained unchanged for decades. The protagonist of the piece sits on a small wooden stool, holding a shiny instrument. The artist’s viewpoint is from above, creating an impossible perspective that distorts the space in an unusual way, transforming it into a strange semblance of itself. The figure occupies only half the space, which seems to crush him with its overwhelming reality. In the upper left corner, a small part of a window with an imaginary seascape is visible, serving as an optimistic counterpoint.
The painting was created in 1973. Once we consider this date, more keys to its interpretation emerge. The young man wears jeans and a polo shirt—both types of clothing that were not tolerated in those years. They were associated with “the West,” signaling rebellion and defiance. The saxophone is most commonly linked to jazz—a genre that, if not officially banned, was suppressed through all possible hidden and overt mechanisms of the totalitarian state. However, the work is actually a self-portrait, adding another layer of meaning to the narrative. The painting exudes claustrophobia. The man appears imprisoned. The suffocating atmosphere of the surrounding environment forces him to seek his own small corner. Optimism is absent. This explains why the piece was rejected by the jury of a group exhibition in Blagoevgrad and remained in the artist’s studio for quite some time.
Twenty-three years later, Sasho Stoitsov exhibited it again, accompanied by several additional elements—tiles from the walls and floor of the real bathroom, which was, in fact, the artist’s own bathroom; a projection of the painting on tracing paper titled “Orientation Sheet”, serving as a retrospective look at the situation and a form of cartography of a bygone era; and “The Shirt Used as a Model.”
The story of this piece is highly indicative not only of the time in which it was created but also of Sasho Stoitsov’s character and his habit of observing the world closely. From his earliest steps, he demonstrated a unique perspective on the surrounding reality—critical, yet not propagandistic, but rather sensitively attuned in a very specific way. He certainly did not fit into the pre-1989 era with its ideological postulates, prescribed thematic assignments, stylistic preferences, and emotional manipulations. Though he participated in the general artistic life, his works always stood out—strange, somewhat unnatural against the overall backdrop. Even then, it was clear that they could not be assimilated into the “general line,” that they were different.
In 1980, Sasho Stoitsov, along with fellow Blagoevgrad artist Vasko Ivanov, held a joint exhibition at the now-defunct gallery of the Union of Bulgarian Artists at 108 Rakovski Street, designated for young artists. There, he presented compositions in the spirit of photorealism, complemented by geometric abstract backgrounds. Works such as “A Family”, “Girl with a Sweater”, “Program P. Bratanov”, “Program Andreev”, and “Program P. Voinov” marked a strong and distinct beginning. The paintings stood out from the general production with their rational approach. To create them, the artist used a camera, a slide projector, a ruler, tape, and a vacuum spray technique. According to Stoitsov, at that time he believed that “people are part of a universal digital programming, which can be reproduced not only by humans.” Such thinking was inconsistent with the era’s understanding of humanity’s central place in the universe. Unsurprisingly, the painting “Program Bratanov” was rejected by the jury for a solo exhibition as being “aggressive and alienated.”
Sasho Stoitsov began working on the “Program” series in the late 1970s. These compositions combined photorealism with near-optical effects—a curious blend of two seemingly incompatible approaches. One hyperbolized the world, emphasizing objects through an over-exaggerated precision, while the other viewed it as a geometric abstraction, where neither people nor objects had a place. The two styles shared only their meticulous execution and cold detachment. However, in the Bulgarian context of that time, this combination carried a much deeper meaning, far beyond mere technical experimentation. The subjects of the paintings—real people—were placed in an unreal setting. They were extracted from socialist reality and “mounted” into an almost cosmic environment. This very detachment of humans from the achievements of civilization and their “launch” into a cold, geometric, abstract space became a critique of a reality that clearly could not hold its people. Looking at these works, words like alienation and estrangement inevitably come to mind—terms that were unwelcome in socialist discourse.
A small series titled “Passage”, from the late 1970s and early 1980s, marked another stage in his development. Here, human figures were reduced to silhouettes, set against geometric but simplified gray backgrounds. In the next cycle—”Energy Conservation”, “Composition”, *”Dialogue”—*specific characters disappeared entirely, replaced by mannequin-like figures without faces, positioned in stylized interiors as if from another dimension. Unlike the “Program” series, which was rendered in a more monochrome, cold palette, these works were more colorful, more vibrant—as if compensating for the complete absence of spirituality and emotion.
It is no coincidence that by the late 1980s, Sasho Stoitsov found himself at the forefront of change. He participated in the most emblematic exhibitions of the period and organized some of them as one of the leaders of the “Blagoevgrad Group.” His works from this time—”Boom in Energy”, 1988; “No Alternative”, 1988; “Domestic Ecology”, 1988; “Hole in the Parquet”, 1989—are filled with political and social reflections, tied to the dramatic ideological shifts and the tragic economic conditions.
Over the following years, Stoitsov engaged with the symbols of communism—slogans, red stars, flags, medals, picks, shovels, and other tools of labor. He is often described as the only Bulgarian artist creating socialist pop art. However, his approach is more of a localized pop art, in which familiar symbols dissolve, transforming into cheerful ornaments stripped of their original meaning and purpose. Tools of labor become icons and altars, covered in gold leaf. Socialist symbols are “tamed” and appear aesthetically pleasing.
In 1996, he created the “Eastern Miniatures” series—nine exquisitely crafted watercolors that juxtapose two incompatible models: the sacred spiritual weight of an ancient culture and, on the other hand, picks and shovels—symbols of repression and unfulfilled ideological dreams.
After moving to New York, Stoitsov returned with a fresh, unexpected aesthetic. He developed a new, theatrical style, using foam board, colored stickers, and ephemeral materials that evoke a sense of impermanence.
Decades later, Sasho Stoitsov remains as dynamic as ever—painting, organizing exhibitions, distributing and absorbing energy. For years, he has kept us alert, constantly surprising us with something new. His journey mirrors some of the most dramatic changes in Bulgarian art over the past thirty years. To discuss his path is to discuss Bulgarian art and culture itself—what it has endured, what it has overcome, and where it is heading.