Imprints

Kalcev‘s next cycle bears the title Imprints and was produced between 1992 and 1994. Certain changes became apparent: the painter used oil. wood, sand and metal in order to give tactile trustworthiness to the painting and to enrich its associative tension. These are graphic inscriptions executed in the relief of the painted structure. Among other things, emphasis is placed on the softly drawn geometrical figures: triangular and rectangular forms that define the field of chromatic surfaces and symbolize intellectual studiousness. Nevertheless, the character of the drawing conforms to the motif of child’s handwriting, and the rudimentary forms are grouped respecting the laws of artistic harmony. His paintings show a diligently composed central motif: a chromatic surface or a form of simplified sign, but always with a colourist accent that gives freshness t0 the whole. Archaic letters and numerals find their place within the basic artistic and semantic structure as freely scattered signs in the space of the painting. Kalcev creates a surface from a densely structured paint which, together with the artistic and object interventions, produces the tactile and allusive content of the painting. An effect is created of a brilliant surface composed in a colourist manner defining the sign of a closed gate or of an imaginary landscape which reflects a state of spirit rather than reproducing a part of visual reality.