" In the early 1990s, I was interested in the collapse of the major ideologies. I took personally, and autobiographically, the problem of the violence of ideas against reality. Like the metamorphoses of the subject world in some anti-utopia, dehumanised and devoid of moral messages, where technologies dominate painfully over biological forms. I was attempting to create a catastrophic iconography, something like the urban posters of the Apocalypse. I called them ‘Objects of the past and the future’, and painted them with cool rationality and alienating perspective. The subject was my conceptual trick in this anti-utopian vision. "
" After 2000, I began a pictorial cycle, which I call conceptually documentary. In my paintings, I created situations by building on famous photographs and sensational press pictures. This refraction of reality functions in a way that is close to film montage. The perception is led by the interaction between the frames, their sequence and their organisation. These works were loaded with social and political commentaries without seeking to be politically correct. The formally plastic construction of the painting was for me of secondary importance.In recent years, I have returned to my subjects of the 1990s. Perhaps it is because I have the feeling that the theme is not exhausted, while the bright future that was promised us has not yet become past, and its dark shadow forms the present."
Dimitar Yaranov