Installation

• Between the Past That Is About to Happen and the Future That Has Already Been, 2022-24 installation in public space, volumetric double-sided illuminated letters, ø 10 m, height 45 cm, depth 40 cm  /// Public art installation on the site of the former mausoleum of Georgi Dimitrov in the centre of Sofia, materialising the sentence “Between the past that is about to happen and the future that has already been”. In contrast to the vertical orientation most monuments rely on, here a structure of a circle laid horizontally on the ground is applied, inviting people to enter the circle, sit on the letters and become part of the work in a symbolic but also quite physically inclusive way. It is the combination between the virtual text, the materiality of the three-dimensional, double-illuminated letters and the people present that makes the work complete.  caption: photo Jello Terziev
• Storm Door, 2022 sculpture in open space
  steel, aluminium, acrylic glass
  200 x 200 x 200 cm Edition 1/3
• Universe of Attachments 2020 installation
  black plexiglass, plywood
  6 x 70 x 50 x 7 cm
  AE 3 + 1AP  
• Do Your Bones Shimmer in the Moonlight?, 2022 installation, part of the series Reconstructions of the Forthcoming
  car cover, construction, fans
  160/400/120 cm
  AE 3 + 1 AP
• First Row Seats, 2025 modified wooden filmtheater chairs  87 x 115 x 56 cm
• Storm After Judd, 2025 modified acrylic glass
  315 x 61 x 68 cm /// A tribute to Donald Judd. Judd's "Stacks" are a primary example of the modernist grid model. In Terziev's interpretation the purity and universality of that model got compromised. Perhaps due to many processes running at the contemporary moment (climate catastrophy being just one of them). The acrylic glass out of which the boxes are made has been melted by high temperature deforming the rigid geometry of the boxes.
• There Are Winters No One Is Prepared For (Spring), 2023 installation, linden bark, polyester resin dimensions variable   In virtual worlds, there is growing sophistication in simulating “real-world” mechanics and the laws of physics. The technology to obtain extremely high-definition photo-realistic environments is already here, but it is still a world of surfaces trying desperately to behave as if below and behind them, there is nothing other than calculation. These firewood pieces exist between the real and the virtual. Stripped from their content, they still maintain the perfect idea of firewood. 
• Let's Dance / Clothes for Collective Life, 1996 installation eight white shirts (modified), plastic circular support construction, fishing cord
  210 x 260 x 260 cm
  edition 3 + 1AP

Object

• Treasure, 2026 found object 
  dimensions variable   
• The golden apple spoils the teeth, 2026 gold leaf on lemon
  dimensions variable   
• Blank, 2013 Relief plastic map turned on its back
  72 х 96 cm
  EA 2/5 + 1 AP
• Monument To The Time Elapsed III, 2019 Engraving on LED TV screen
  74 x 109 x 28  cm
• Monument To The Time Elapsed VI, 2019     Engraving on laptop screen, defunct laptop     30/33/27 cm
• Monument to the Time Elapsed V, 2020 engraving on TV screen, 48" TV set base
  98 x 136 x 55 cm  /// The series Monument to the Time Elapsed re-appropriates some dead devices (laptop, tablet, TV). On the screen of each piece of equipment is engraved an image of the supposed reflection of its user. The black screen turns out to be a perfect surface for engraving - a technique resembling in many ways the current fashion in the design of tombstones in todays Christian Orthodox world, where the portraits (or sometimes full size figures) of the deceased are engraved on the surface of black granite tombstones.
• Hot Chairs, 2022 modified Monobloc chairs, unique pieces, non-limited number
• Yet to be Titled, 2018 photomontage
  pigment print on canvas, stretcher,
  90 cm diameter
  wall painted in black

Artworks with Light

• Drift, 2019 installation
  white neon, metal frame, two texts facing each other in a transit space
  with human flow in between
  dimensions variable
  EA 1/5 + 1AP
• Future Unforgettable, 2019 white neon
  11 x 98 cm
  5 + 1AP  

Painting

• Series Central, 2026 gold leaf, acrylics on plywood
  62 х 92 cm each The linear perspective of the symbolic center of the city and the nation - the yellow cobblestones of Sofia - possesses a distinct character. The series Central (2026), executed in gold leaf and acrylic on plywood, explores this character through various constructions: One Point Perspective, Two Points Perspective, No Point Perspective, and Ground for Sky Perspective. The cobblestones are not merely inert material—they carry the weight of gold (worth its weight in gold). There is no room for aerial perspective in this symbolic space; it is pure geometry and significant mater.
• One Point Perspective (Dizzy), 2026 From the series Central, 2026
  gold leaf, acrylics on plywood
  62 х 92 cm
• Ground for Sky Perspective, 2026 From the series Central gold leaf, acrylics on plywood 62 х 92 cm
• Lights Off (Anachronistic), 2026 gold leaf, acrylics on plywood
  63 х 62.5 cm
• Moon Palm Earth, 2018 oil on canvas  178 x 100 cm
• King Kong Digitised acrillic on canvas
  80 x 100 cm
• Whip Painting III, 2022 acrylic, thread soaked in colour on paper
  100 x 70 cm
• Session, 2016 acrylic on canvas
  80 x 100 cm
• Blue, Red, Green... , 2016 Blue, Red, Green: Like all Languages, the Language of Things is Useful either for Revealing the Truth, or for 
  Concealing It
  acrylic on canvas
  tryptich
  76 x 76 cm each
• Bikini Atoll Digitised, 2023 acrillics on canvas     76 x 113 cm
• You!?, 2002 oil on camvas    
  80 x 100 cm
• A dialogue, 2002 oil on canvas
  80 x 100 cm

Drawing

• Bent Mesh, 2026 permanent marker on mirror film 63 х 62.5 cm
• Bent Mirror, 2026 and Bent Mesh, 2026 permanent marker on mirror film 63 х 62.5 cm each  
• Whip Painting II, 2022 acrylic, thread soaked in colour on paper
  5 x 70/50 cm each 
• 2020. A Working Day, 2014 black ink, watercolor,
  pigment pencil on paper
  52 х 72 cm
  part of the Cosmopolis series

Print

• King/Party Kong/Headquarters, 2026 photomontage
  pigment print on Hahnemühle paper (315g)
  58 x 42.5 cm
  5 +1АР
• Superstructure, 2026 photomontage
  pigment print on Hahnemühle paper (315g)
  58 x 42.5 cm
  1/5 +1АР
• Base and Superstructure, 2026 photomontage
  pigment print on Hahnemühle paper (315g)
  58 x 42.5 cm
  5 +1АР
• Shelter Fantasies, 2022 color photographs, part of the series Reconstructions of the Forthcoming
  pigment print on Hahnemühle Photo Rag Baryta 315g paper mounted on dibond
  framed, 80 x 110 cm each
  EA 5 + 1AP
• Time Sticks to the Walls (co-authored with Tsvetelina Hristova), 2024 essay film, 15:15 min, 4K, sound;
  series of 36 photographs, 4x105/140 cm, 12x76/105 cm, 18x13.5/24 cm
  edition 5 + 2AP https://vimeo.com/921702779
• Years Later, 2015 photo and text, pigment print on paper (42/42 cm), printed text (A4), wooden frame 70/100 cm (framed), edition 6 + 1AP /// the printed text July 20th. 1969. The first U.S. flag on the Moon was deployed by Apollo 11 astronauts Neil Armstrong and Edwin Aldrin during their historic moonwalk. The flag was seen worldwide live on television. 1972. Gene Cernan was the last man to step on the Moon. 1969 – 1972. There are six U.S. flags documented, planted on the moon by the Apollo astronauts (Apollo 11, 12, 14, 15, 16, and 17). Thirty-nine Years Later. Since the atmosphere of the Moon is tenuous, the ultraviolet light from the Sun is so intense that it must have faded the colours of each flag shortly after it was planted. What is supposedly left is a white flag standing. However, there are no images documenting this since no one has landed at the same landing site ever again and there are no satellites yet that can capture such detail.
• Just as water, gas, and electricity are brought into our houses from far off... 2011 series of photographs, 90/135 cm each
  edition 6 + 2AP
• Apollo Albino Programme, 2017 photomontage
  pigment print on paper mounted on dibond
  70 x 170 cm
• Apollo Melanist Programme, 2018 photomontage
  pigment print on paper mounted on dibond
  70 x 170 cm

Video

• Things We Don't Know We Know, April/May 2020 1 min, looped, 4K, no sound
  EA 5+2 AP
  https://youtu.be/Le386AlXeSM
• Time Sticks to the Walls (co-authored with Tsvetelina Hristova), 2024 essay film, 15:15 min, 4K, sound;
  series of 36 photographs, 4x105/140 cm, 12x76/105 cm, 18x13.5/24 cm
  edition 5 + 2AP https://vimeo.com/921702779
• Battles of Troy, 2005 experimental documentary
  52 min, DV, PAL, color, sound
  edition 5 + 2AP + 1H/C https://vimeo.com/192766481
• A Movie, 2004 two-channel video installation
  27:51 min, DV, PAL, 4:3, color, no sound
  edition 3 + 1AP
  https://www.youtube.com/watch?v=EquS-Jozgmc
• A Place (Playground), 2004 video, 12 min, DV PAL, 4:3, color, sound
  series of photographs, 80x106 cm each
  edition 3 + 2AP
  https://vimeo.com/271093406
• Between Flashback and Déjà-vu II, 2016 video
  9 min, HD 1080P, PAL, colour, sound   Watch the video trailer here