You started out as a graphic designer and later shifted to 3D art. What drew you to 3D modeling in particular?
I think it was the desire to tell stories with more depth – literally and figuratively. Graphic design gave me the tools to communicate visually, but 3D opened up a whole new space where I could build entire environments, add atmosphere, and invite the viewer into a moment. Once I started experimenting with 3D, it quickly became the main way I express ideas. It just felt like the right medium for how I see things.
That said, I still actively work in graphic design, and I see both disciplines as deeply connected. Studying and graduating in graphic design definitely helped me develop the visual sense and clarity I apply in my 3D work today. The two fields complement each other – composition, color, and storytelling are essential in both.
In your project Nameless Moments, you focus on pivotal events in world history. How do you choose which moment to depict next?
It’s a mix of instinct and research. I look for events that changed the world in some way – technologically, culturally, emotionally – but that can also be translated into a small, self-contained scene. Some ideas come from things I’ve read or watched, others from random thoughts during the day. I’m always asking myself: “What would this moment feel like if you were there?” and “Can it fit inside a tiny room?”
Each piece – whether it’s Control of Fire, Moon Landing, Romeo and Juliet, or Color TV – is crafted inside a cozy, cube-like scene. Why did you choose this specific format?
The box format came naturally. It acts almost like a stage or a diorama – a defined space where everything is intentional. It helps me focus on the essentials, and it gives the series a visual consistency that makes the collection feel whole. Plus, there’s something satisfying about fitting a vast concept into a confined, intimate space.
Your artworks have a recognizable style: warm lighting, attention to detail, and minimalist stylization. How did you develop this visual language?
It developed slowly over time. I’ve always been drawn to warmth and contrast, especially candlelight or sunlight seeping through a room. I aim for a stylized realism – something grounded but still a bit dreamy. Limiting the detail helps keep the viewer focused on the idea, not just the texture. I think my graphic design background plays a role too – I’m used to simplifying visual elements to make them more communicative.
The historical and cultural context in your work is expressed with subtlety. What kind of reaction are you hoping to evoke – nostalgia, awareness, dialogue?
All three, really. I hope people feel a bit of nostalgia, especially for events or eras they didn’t live through. At the same time, I want them to pause and reflect – what does this moment mean to us now? The subtlety is intentional. I don’t want to explain too much. I want people to fill in the blanks with their own thoughts and experiences.
As a self-taught artist, your scenes feel like miniature exhibitions. Have you participated in any physical exhibitions, or do you primarily focus on digital platforms?
So far, I’ve mostly shared my work online – through Instagram and other digital platforms – but I’ve also participated in a few open calls for magazine publications. One of my 3D artworks (outside the Nameless Moments collection) was also exhibited on a digital display in Romania, which was a great experience. I’m always open to finding new ways to present my work, whether digitally or in physical spaces.
How would you describe the 3D art scene in Bulgaria? Are there local artists, studios, or trends that inspire you?
It’s still a growing scene, especially for stylized and artistic 3D work. Most of the 3D focus here is around game design or advertising, but I’ve started seeing more experimental work in recent years. I follow a few local artists and animators whose creativity and persistence are inspiring. There’s definitely potential for more crossovers between fine art and 3D here.
Do you feel connected to the Bulgarian art community? Is there support or interest in digital art from galleries, audiences, or institutions?
I’d say I’m partially connected. The digital art scene is still finding its place in the broader art community here. Some galleries and institutions are opening up to it, but it’s not mainstream yet. That said, I’ve had positive conversations with people who are genuinely interested in digital storytelling and how it can be part of contemporary art.
Are there any projects, festivals, or spaces in Bulgaria where you would like to present your Nameless Moments series or other works?
Yes – there are a few galleries and festivals I’m keeping an eye on, especially those that focus on experimental art, digital media, or local talent. It would be great to collaborate with a space that’s open to blending history, technology, and art in an engaging way. Nameless Moments could work well as a small immersive installation or even as part of an educational exhibition.
Finally, what are you currently working on? Do you plan to expand the Nameless Moments collection or explore new artistic directions?
For now, I’ve paused work on the Nameless Moments collection, but the themes – historical and non-historical events that changed the world – remain a key part of some of my personal artistic focus.
Recently, I’ve been exploring different styles and fields in both graphic design and 3D animation. I work mostly as a freelancer now, and that gives me the chance to try a variety of things – projects for films, music videos, social media content, 3D models for games and mobile apps, and more. I really enjoy working across different mediums and learning new tools and techniques along the way.
