The faces in front of future students, the hands – guardians of the craft, the people – inspirers. A column that introduces you to the future teachers at the craft school, part of the Colorful Factory.
*Please find the English text below.
Thanks to his unconventional approach to making wooden sculptures, as well as his attitude towards the material, Hristo Kirilov's work has its own distinctive style. The dexterity and skills in woodworking inherited from his grandfather play a key role not only in sparking interest in the craft, but also in the deep respect and esteem for wood as a material. Before he enters the future studios and classrooms of "Sharena Fabrika" to pass on his experience and knowledge, we ask Hristo about his beginnings and inspiration, how and when he started, what the processes are and what he will bequeath to future students.
How did you get into the craft and when did you realize that wood was your material?
I think I was in second grade when my mother enrolled me in woodcarving lessons at the children's palace. The glut of toys offered to children was gone, and if I wanted to have "friends" I had to create them myself. I used to make little men out of wood with my grandfather's knife. Now I remember where it all started. We would go with my grandparents in the countryside to pick raspberries and blackberries, which my grandmother would turn into ambrosia. And while we were resting, my grandfather would make boats out of pine bark with his knife. I was amazed by his dexterity and the way his face would change as he created these magical and priceless boats for me.
And so I picked up the knife and started creating. My mother had noticed it and found me woodcarving lessons.
Is that when your style started to take shape?
Yes, I remember that even back then I constantly asked my teacher – Kostadinka Krasteva, to let me do three-dimensional things, not flat boards with flowers on them. I was drawn to three-dimensional sculpture. Later, at the applied school, I realized that the flowers in question were just as three-dimensional, as long as you had this approach and feeling for sculpturality in the two-dimensional panel. So at the applied school, I enrolled in wood carving, and then at the art academy as well. It wasn't easy. I applied for four years and finally succeeded, and it was in the class of Anton Donchev, who is known for his affinity for the human figure. To this day, I still can't escape the human figure and man in general.
I know that you later went to specialize in Portugal. What are your memories of there?
During my studies at the National Academy of Fine Arts, I was fortunate enough to go on a specialization course at the academy in Porto, Portugal. There I met wonderful professors and colleagues who broadened my worldview and attitude towards art. I had a very rich base in "Faculdade de Belas Artes do Porto" and there I was able to experiment with different materials in sculpture, like sheet metal, cast iron, cement. In the end I went back to wood, but I had all this new knowledge about different materials and techniques.
Where have you shown your work so far?
After the art academy, I took part in various symposiums on monumental exterior wood sculpture in Bulgaria, France and Denmark. I periodically continue to participate in group exhibitions in our country. I have also presented two solo exhibitions here.
How did you come up with the choice of instrument?
Looking into the detail is characteristic of me and inherent in traditional woodcarving and the tools for it – the chisels. Recently, I have focused on the portrait and insight into the personality. To intentionally escape from detailing, I started using the wood cutter as my main tool. I embarked on a search for emotion and character in the portrait, which is the leading need for me. During the pandemic, I also rediscovered the axe. I discovered it then, due to the isolation of a village and the lack of convenient tools. I realized that I could work in the meadow, with just an axe in my hand and a piece of wood in front of me. This gave me a feeling of freedom. Without the need for a studio and amenities. The only thing I need to create is inspiration.
What is the most challenging thing about the process?
Searching for the best way to express myself, I started combining different techniques and tools. I compare the presentation of a sculpture to a beautifully arranged plate. The important thing is to have a wealth of elements, different techniques, a variety of textures, and the most challenging thing for me is to find the balance between all of this.
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What are the specifics of your process?
A peculiarity in my work process is perhaps that I very rarely have a preliminary project. I do not draw on the wood. I prefer to listen to it and take into account what it offers me. When I make a portrait of a certain person, I do not look at a model or photos. I strive to convey only the feeling that I have in my head about this person. It is personal and mine alone.
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What would you like to pass on to future woodcarving students at Sharena Fabrika?
No matter how many attempts and experiments I have made with different materials, wood will always be my material. It expresses me best. And we understand each other. I have learned to like all its imperfections, especially in the context of my work on portraits and the parallel I make with people. There are trees with straight and soft veins, there are twisted, hard and not amenable to processing. They require more patience and other types of techniques. In the end, they are all beautiful. I like the knots, always popping up unexpectedly, but then I realize that they are in the right place. I adore the cracks and the way they crawl around the shape and paint it.
I think the most distinctive thing about the character of a tree is that it continues to live. It darkens, turns gray, cracks, ages. It looks like a person. It is affected by water, air, sun. And by time. And just like a person, it can warm you, only if you allow yourself to observe it and try to understand it.
The only thing I can pass on is my love for this divine material.
_______________________Thanks to his unconventional approach to working with wood sculptures and his deep respect for the material, Hristo Kirilov's artistry carries a distinctive signature. The skills and dexterity inherited from his grandfather played a key role not only in sparking his interest in the craft but also in fostering a profound reverence for wood as a material. Before stepping into the future studios and classrooms of "Sharena Fabrika" to share his experience and knowledge, we asked Hristo about his beginnings and inspirations: how and when he started, what his processes are, and what legacy he wishes to leave to future students.
How did you first encounter the craft, and when did you realize that wood was your material?
I think I was in the second grade when my mother signed me up for woodcarving lessons at the Palace of Children. There wasn't an overabundance of toys back then, so if I wanted "friends," I had to create them myself. I would carve little wooden figures using my grandfather's knife. Now that I think about it, that's where it all started. My grandparents and I would often wander into nature to pick raspberries and blackberries, which my grandmother would turn into ambrosia. While resting, my grandfather would craft boats out of pine bark with his knife. I was amazed by his skill and the way his face transformed while creating those magical, priceless boats.
That's how I picked up the knife and started carving too. My mother noticed and found woodcarving lessons for me.
Was that when your style started to take shape?
Yes, I remember that even then, I constantly asked my teacher, Kostadinka Krasteva, to let me work on three-dimensional pieces, not just flat boards with flowers carved into them. I was drawn to three-dimensional sculpture. Later, in applied arts school, I realized that even those flowers could be as three-dimensional as I wanted, as long as I had the right approach and a sense of sculptural depth in a two-dimensional panel. That's how I started studying woodcarving in applied arts school and later continued at the Academy of Arts. It wasn't easy—I applied for four years before I finally succeeded, entering the class of Anton Donchev, who is known for his affinity for the human figure. Even today, I can't escape the human figure and humanity in general.
I know that later you went to specialize in Portugal. What memories do you have from there?
During my studies at the National Academy of Arts, I was fortunate to specialize at the academy in Porto, Portugal. There, I met amazing professors and colleagues who broadened my horizons and deepened my approach to art. I had access to a richly equipped studio at the Faculdade de Belas Artes do Porto, where I experimented with various materials for sculpture, including sheet metal, cast iron, and cement. In the end, I returned to wood but enriched by new knowledge about other materials and techniques.
Where have you showcased your work so far?
After graduating from the Academy of Arts, I participated in various symposia for monumental outdoor wooden sculpture in Bulgaria, France, and Denmark. I also continue to take part in group exhibitions in Bulgaria and have presented two solo exhibitions here.
How did you choose your tools?
Attention to detail is characteristic of me and inherent to traditional woodcarving and its tools—the chisels. Recently, I have focused on portraiture and delving into personality. To intentionally move away from fine detailing, I began using a chainsaw as my primary tool. I embarked on a journey to capture emotion and character in the portrait, which has become my driving force. During the pandemic, I also rediscovered the axe. I found it while being isolated in the countryside, without access to convenient tools. I realized I could work in an open field, armed with just an ax and a piece of wood in front of me. This gave me a sense of freedom—no need for a studio or comfort.
The only thing I need to create is inspiration.
What is the most challenging aspect of the process?
In my search for the best means of expression, I started combining different techniques and tools. I draw parallels between presenting a sculpture and a beautifully arranged plate. The key is to have a wealth of elements, various techniques, and a variety of textures. The most challenging part for me is finding the balance between all of these elements.
What are the peculiarities of your process?
Perhaps the distinctive feature of my work process is that I rarely have a preliminary plan. I don't sketch on the wood. I prefer to listen to it and adapt to what it offers me. When creating a portrait of a specific person, I don't use a model or photos. I aim to convey only the feeling I have in my mind about that person. It is personal and entirely my own.
What would you like to pass on to future woodcarving students at Sharena Fabrika?
No matter how many attempts and experiments I've made with different materials, wood will always be my material. It expresses me best, and we understand each other. I've learned to appreciate all its imperfections, especially in the context of my portrait work and the parallels I draw with people. There are trees with straight and soft grains, and there are twisted, hard ones that resist processing. They require more patience and different techniques. In the end, all of them are beautiful. I love the knots, always appearing unexpectedly, but later I realize they're exactly where they're meant to be. I adore the cracks and the way they traverse the form, painting it in their own way.
I think the most distinctive quality of wood is that it continues to live. It darkens, grays, cracks, and ages. It resembles a person. It's influenced by water, air, sunlight—and time. And just like a person, it can warm you, but only if you take the time to observe it and try to understand it.
The only thing I can truly pass on is my love for this divine material.
