My paintings always contain a message. A simple message, right there in plain sight  maybe.  Or it could be buried under the surface with a deeper meaning, something quite theatrical perhaps. I'm a story-teller, I love to tell stories as much as I love to paint.

I want to tell my stories to everyone in the whole wide world. Unfortunately, I don't speak all the many languages required to do that, so I don't  use any words to tell my stories.  This becomes quite a challenge telling a story everyone can understand no matter what their language. Even more difficult to convey the story using only images to set the mood, to suggest feelings and sensations, . . . hence the term : "visual " art.
         My professional philosophy dictates that I never fail to accept new challenges if I am to evolve. Consequently, in order to keep my work fresh and original, I'm in constant search of new methods of expression. My old  Still-Lifes were more opulent, quite garrulous, . .  my erstwhile aim was hidden content, to tell the story or remind us of life's brevity, but the paintings took on a "too-busy" atmosphere. So, . . true to my philosophy, I do believe I have evolved, thus:  my "new" paintings are simpler! The goal was to purify the composition, partially through the careful editing of the various objects in the painting and cause it to "sound" more significant and abstract.
         However, I must admit I found that: "simpler" is definitely not "easier"! To the contrary, it's just the opposite. With fewer means of expression, I had to suggest the same richness of feeling and mood (as in my earlier Still-Lifes) and achieve the same warm, intimate atmosphere to convey an impression of quiet, stillness, . a sensation of romantic contemplation, . . or dramatic tension. My main, most important instrument this time, . . the one ingredient that has the absolute power to make or break my painting, . . is the "light"! 
         A visit to the theatre was a great inspiration for me. Carefully observing how the stage technicians, (the lighting crew), manipulated those lights, constantly changing them from harsh, to soft, from one pastel shade to another. Dancing the light around the stage with perfect co-ordination, helping to tell the story by focusing here and there, teasing the audience into looking at just the right place to catch the emotion. For a moment I was reminded of my childhood ballet classes and how fascinated I was at that time with the power of the light to follow the dancer and place just the right amount of light and shadow at just the perfect angle to capture the mood and atmosphere the story-teller originally intended. I call this: the-magic-scenic-lighting, for my paintings.
         Yes, "the-magic-scenic-lighting", . . . really is magical in the many ways it illuminates all we behold. Every object is altered as the intensity and angle of the light changes. Combining light and shadow can alter the atmosphere around an object and completely change the mood as well as the emotion the artist is suggesting to the viewer. Creating a central composition with central light from above to intrigue my viewers to focus their attention on the simple beauty of ordinary objects, I'd like to convince them that there is so much beauty and harmony around us. People are missing this pleasure in their busy world so my aim is to capture someone's eye across the room and tease them into drawing closer and closer until they can feel the pleasureful sensation I intend for them. I am motivated by the desire to make a personal connection with the viewer through my painting.
         Using light and colour to infuse each object with feeling and nuance, I'd like to take my work beyond photorealism, which has become static, and I'd like to explain that:  rather than paint a simple apple, I now paint a portrait of that apple. As I have stated before, I truly believe it involves the same emotion, challenge and difficulty to paint a simple apple or the intricacies of the human face. Therefore, in my Still-Lifes, I try to fill each object with a sentiment and sensuality while the space around them, be it bathed in light or shadow, should suggest to my viewer, a feeling of silence and peace and perhaps help them relax by easing them comfortably into a melancholic mood.

         Deep involvement and love goes into the creation of a work of art and they all become like my children, I love them all. But, like raising a child, you want each to evolve to its very best. Accordingly, my aim in this collection is to purify each composition. If  I had to choose my favourite painting, I would make the selection from my New Collection, and because I feel I have fullfilled my goal with this particular one, . . I choose "Green Apples II".

Maria Varbanova 2005

        With special thanks to Mike and Joan Silk (Guelph, Ontario, CANADA), for their assistance in the English edition of this page.