Craft Stories: Rumen Georgiev

Rumen Georgiev graduated from the School of Applied Arts in Troyan. For many years he was a designer of ceramic products at the Troyan factory “Art”. Since 1997. he has been working independently and has had several solo exhibitions abroad. In addition to all his merits as an artist, Rumen has the talent to convey his knowledge and skills in a fascinating way. We are happy that he will teach pottery at the future craft school, part of the International School of Culinary Arts and Crafts “Sharena Fabrika”.

We tell you about his journey and the history of pottery in the Troyan region.

You graduated from the School of Applied Arts in Troyan, and you live there. Tell us about the development of ceramics in this area? 

The chronology of pottery in our region is as follows: it first appeared in the village of Terziysko - the Granchar neighborhood. From there, the craft began in small workshops. I have heard that there was a pottery workshop in a house. It gradually moved to the villages of Beli Osam, Shipkovo and then entered Troyan. At the time when I graduated from school - 1982, I signed a distribution contract at the “Izkustvo” factory. I worked there for 5 years. There were 3 ceramic factories in the town of Troyan: “Izkustvo”, “Troyanska Keramika” and “Atlant”. Approximately 500 people in each factory. These were mass productions, mostly of tableware and serviceware decorated with the “Troyanska kapka”. Private initiative did not exist. After 89, the factories gradually closed and private initiative came to the fore.

How did you first get into this craft and when did you feel that this was your path?
I first touched clay at school. My first teacher and mentor was Nikolay Yovkov. My first assignment was “Cord Technique”. My interest started from there. Gradually the topics and assignments became more complicated. My thesis was on a fruit service. I had nowhere to look for an analogue. The service turned out beautiful and I got an excellent grade. First I discovered chamotte as a material and later red clay.

In the video you say that the teapot is your favorite topic? Why?

The teapot is my favorite subject because it is a multi-component vessel with many different elements. The interpretations are endless variations of shape, size, color, surfaces. Oh, complete creative freedom. Plus, I really love tea, and maybe mulled wine. They say that pottery is a sacred craft. In the late 18th and early 19th centuries, it developed mainly in Troyan, Gabrovo, Berkovitsa, Razlog, Aytos and other places. What are the specific shapes and details that distinguish each region?This is a long topic. The main Trojan patterns are: “Snail”, “Downhills”, “Chazii”, “Gaitani”, “Stoborki”, “Beloosomska prestilka”, “Bairyak” and the infamous Trojan Drop. For the forms, it starts with the Trojan Stomka, also called the “Trojanka”. Elegant, slender with a narrow neck, a turned handle with a drinking hole and rich engobe decoration. Next “Wedding Pitcher”, richly decorated, has two symmetrical containers for fresh flowers at the mouth – it is very festive. Pitcher “Lovchanka”, larger in size and wider throat. “Harvest Pitcher” – it is baked only on a biscuit for agricultural activities and outdoors. Keeps the water cool. “Devil” pitcher, has hidden extras. The water comes out in an unusual way. It served to test young brides. Tarnovo ceramics is the successor of the ceramics from Pliska and Preslav. This is a sgraffito technique that was present on the boyar tables. Very richly decorated with motifs such as falcons, griffins and braids. Gabrovo ceramics is the successor of Tarnovo ceramics, sgraffito and yellow glaze. Busin ceramics is a very authentic, primary and magnetic ceramics. Currently, there is an attempt by young enthusiasts to renew Busin ceramics. Berkovitsa and Samokov are places where masters from Busentsi have moved.

How has Bulgarian ceramics developed over the years until today and what are the main differences that stand out from the past?

 

In 1844, the craft of pottery was first mentioned in a document. Thus, for many years, pottery was practiced in small workshops, family manufactories and guilds. By making vessels for sale at fairs, by driving carts and wrapping them with straw on the principle of empty for full. Subsequently, after September 9, 1944, the small workshops gradually closed and factories were introduced. Initially, the pots were fired in wood-fired kilns, but after the introduction of electricity, production was modernized. Firing is carried out in chamber and tunnel kilns. In modern production, there are all kinds of technologies. Wheel grinding, press, templates to casting in plaster molds. Models in our time are diversifying and increasing in number and each ceramist tries to bring something of themselves. This leads to great diversity. Great awareness expands the palette.

Where does this craft live nowadays and what interest do children show in it?
Craftsmanship nowadays starts at school NUPI – Venko Kolev in Troyan and is found in many studios, workshops and family guilds. There is a great interest among children in pottery and especially in pottery making.

What potential do you see in a place like the Colorful Factory school?
I see potential in "Sharena Fabrika". Because an adult, motivated and curious person can relatively quickly acquire skills and knowledge in the craft he has chosen. We, the teachers, are practicing artists and craftsmen, each of us would give a lot to gain confidence and dexterity in those who wish.

You have traveled to different countries with your solo exhibitions. How is Bulgarian ceramics perceived?
I have been to Kandersteg, Switzerland in 1999; 2016 in Munich, Germany; 2017 in Bursa, Turkey; 2019 in Ningbo, China and I think that Bulgarian ceramics are well received everywhere.\

After so many years of practice, do you still feel the thrill of what finally comes out of the fire? 

We still enjoy like children a nicely baked oven and some new colors. Of course, he who does not work, he is not wrong, but we have minimized this last one. I categorically think that there is creative inspiration and creative joy.

Craft Stories: Rumen Georgiev Faces before future students, hands – guardians of the craft, people – sources of inspiration. A column that introduces you to the future teachers at the craft school, part of the Sharena Fabrika.

You graduated from the School of Applied Arts in Troyan, and you live there as well. Can you tell us about the development of ceramics in this region? The chronology of pottery in our region is as follows: it first appeared in the village of Terziysko, in the Grunchar neighborhood. From there, the craft spread in small workshops. I've heard that there was a pottery shop in almost every house. Gradually, the craft moved to the villages of Beli Osam, Shipkovo, and then into Troyan. When I graduated from school in 1982, I signed a distribution contract with the 'Art' factory. I worked there for five years. At that time, there were three ceramics factories in Troyan: 'Art,' 'Troyan Ceramics,' and 'Atlant.' Each factory employs approximately 500 people. These were mass productions, primarily of tableware and sets, decorated with the 'Troyan drop.' There was no private initiative. After 1989, the factories gradually closed, and private initiatives emerged. How did you first come into contact with this craft, and when did you realize that this was your path? I first touched clay in school. My first teacher and mentor was Nikolay Yovkov. My first assignment was the "coil technique." That's where my interest began. Gradually, the topics and tasks became more complex. My diploma project was a fruit set. I had no reference to follow. The set turned out beautifully, and I received an excellent grade. I first discovered chamotte as a material, and later, red clay.

In the video, you mentioned that the teapot is your favorite subject. Why is that?
The teapot is my favorite subject because it is a multi-component vessel with many different elements. The variations are endless in terms of shape, size, color, and surfaces. It offers complete creative freedom. Plus, I love tea.

How has Bulgarian ceramics evolved over the years up to today, and what are the main differences compared to the past?

In 1844, the craft of pottery was mentioned in a document for the first time. For many years, pottery was practiced in small workshops, family-run factories, and guilds. Pottery was made for sale at fairs, transported by carts, and wrapped in straw on the principle of "empty for full." Eventually, after September 9, 1944, small workshops were gradually closed, and production moved into factories. Initially, the pottery was fired in wood-fired kilns, but with the advent of electricity, production was modernized. Firing was done in chamber and tunnel kilns. Today's production incorporates all kinds of technologies: wheel throwing, pressing, templates, and casting in plaster molds. Modern designs have diversified and increased in number, with each ceramic artist trying to infuse something personal into their work. This leads to great variety. Increased access to information has expanded the creative palette.

Where does this craft live today, and what interest do children show in it?

Today, the craft begins at the National School of Applied Arts – Vanko Kolev in Troyan and is found in many studios, workshops, and family guilds. There is a significant interest among children in pottery, especially in wheel throwing.

What potential do you see in a place like the Sharena Fabrika school?

I see potential in Sharena Fabrika because a motivated and curious adult can relatively quickly acquire skills and knowledge in the craft they have chosen. We, the instructors, are practicing artisans and creators, and each of us is ready to give a lot to help those eager to gain confidence and dexterity.

You have traveled to different countries with your solo exhibitions. How is Bulgarian ceramics perceived?

I have exhibited in Kandersteg, Switzerland in 1999; Munich, Germany in 2016; Bursa, Turkey in 2017; and Ningbo, China in 2019, and I believe that Bulgarian ceramics is well received everywhere.

After so many years of practice, do you still feel the excitement of seeing what comes out of the kiln?

We still get as excited as children when we see a well-fired kiln and discover some new colors. Of course, those who don't work don't make mistakes, but we've minimized those over time.

I firmly believe there is creative inspiration and creative joy.