Collector’s Choice: Ivo Stoyanov



MINDSCAPES: Reflections on the Art of Ivo Stoyanov

By Donald Brackett

Some artists strive to involve their audience in a relationship that is more intimate than vision alone permits. Such artists create artworks which assume through their very essence the explicit form and content required of them to confer their unique meaning. But the most effective and compelling artworks of all are those that make explicit the fact that they are made to directly affect the spirit.

So it is that Ivo Stoyanov takes my breath away. He coaxes our eyes and heads into that transcendental place, a simultaneously light and dark place, where he firmly believes that art, and especially art about the natural world, shakes hands with spirit.

His extreme reduction to visual and pictorial essentials is responsible for that magical quality we can discern so clearly as negative space, an ideal notion to capture the essence of what makes a Stoyanov image so mesmerizing. It is the essence of absence. And the breath of the mind is what it takes away, submitting us to the silence of seeing.

Here in Stoyanov’s tranquil images are some of the most pivotal motifs in art history: The Land. The Sea. The Sky. The Inhabitants. The Invisible. He skillfully merges these pictorial motifs within a single picture plane, superimposing them in a way that makes us part of the land itself rather than mere spectators. He shows us the sublime rather than merely suggesting it.

A painter such as Stoyanov is so captivating because he is producing something dramatically different: Mindscapes. Mindscapes which are nonetheless tangible and visceral evidence of our physical existence in space and time. Mindscapes which are in fact complex conceptual responses to the landscape in all its facets, both physical and psychological.

These recent paintings are maps of an invisible territory which only exists in the geography of the imaginations. In Stoyanov’s hands, the art of the land seems to undergo a kind alchemical transformation, one in which he can reveal what seems to me to be a most important contribution to the ongoing pastoral dialogue: painting as a process to represent the process of painting itself. He revels in his revelation, and we are invited to participate in both the extended reverie his work triggers and the spiritual transaction it represents.



Click on thumbnails to enlarge.

Ivo Stoyanov

Toronto, Ontario

1984 – 1990 Fine Arts Academy,Sofia,Bulgaria
Masters Degree in Fine Art
Major in Mural Painting

AWARDS: Travel Grant, ‘’Scattered Seeds’’ Collective
The Canada Council for the Arts, 2002
Project Grant, ’’Scattered Seeds’’ Collective
Foreign Affairs Arts and Cultural Industries, 2001

Project Grant, ‘’Scattered Seeds’’ Collective
The Canada Council for the Arts, 2000

Casino-Rama,Orillia, On. 2000
Magic City, Nigata, Japan. 1999
New Trade Center, Exhibition Place, Toronto, On. 1998
la Coquille, Hamilton, Bermuda. 1997
Alliance Communications Corp., Toronto, On. 1997
Casino-River Boat, Windsor, On. 1996
The Observatory, Chicago, USA. 1995
Cocoon-Art Complex, Toronto, On. 1994
Matisse Restaurant, Toronto, On. 1994
Novotel, New York, USA. 1992

SCULPTURES: Mobile,Toronto,On.,Canada , 2001
WORKSHOPS: On the Edge; Almunecar,Spain, March 2000.
Inside Out ; Live Art Space,Toronto,On., Jun1999.



Limited edition prints by Ivo Stoyanov




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Marta Baricsa: Collector’s Choice



 “Your non-narrative paintings evoke contemporary Japanese calligraphy”
Nato Thompson, Curator MASS MoCA




 OM Paintings

by Marta Baricsa
The Om paintings are focus meditation paintings.
All the Om paintings I made, I made by hand, without tracing or using any device such as a projector etc. Plus there are no corrections or overpainting.



Om natural green with artist Marta Baricsa. 2011. Acrylic on canvas. 11.5 x 6.5 feet

I do my best to meditate and like a variety of meditations, sometimes Om meditations where I focus on the Om mantra.

I also feel my Om paintings are a type of meditation too. I focus in on the moment and repeat the Om circle as a mantra. So it’s a type of movement mediation. It’s a type of focus and releasing.

Have a look at this time lapse I did with my latest Om white stone painting.


Marta Baricsa exhibition


“Your minimal use of bold color is particularly striking in conjunction with your neutral palette.”

Lisa Dorin, Assistant Curator. Williams College Museum of Art. MA


About Marta Baricsa

      “I was born in London, England and I moved to Canada at an early age. While living in Toronto I attended a special 4 year arts program at Central Technical School. Realizing that painting was my main interest I later attended and graduated from the Experimental Arts Department at the Ontario College of Art. OCAD. I moved from Toronto fifteen years ago to Vancouver, British Columbia Canada. I live and work in my studio in the east side with my partner Roy Mackey who is a steel sculptor.
    Over the years I had the privilege of studying with Graham Coughtry, Daniel Solomon, Gustav Weisman, Ed Bartram and John Meredith.
    I have shown my work in galleries in Toronto, Vancouver, Victoria, San Francisco, New York and Los Angeles. My paintings can be seen at the Vancouver Art Gallery’s art rental and sales and during studio visits.
    My paintings are in private and corporate collections in Canada, U.S.A and Great Britain and are featured in over thirty movies and TV productions.”


See some of these works below:








In continuing with our exploration of collage, below you will see examples of collage and ink by Marta.

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