Installation

• When Where and What Were the Same, 2018 Installation, objects, sound
  Collaboration with Daniela Kostova
  Detail Part of the group show “Metaphorai”
  curated by Katia Anguelova & Alessandra Poggianti
  Art Today Association, Center for Contemporary Art, The Ancient Bath, Plovdiv, Bulgaria
• Disciplined Joy, 2021 Site-specific Installation
  Balloons, helium
  Kunstraum Kesselhaus, Bamberg, Germany
  Photo: Astrid Piethan
• Confusion, 2002 carpet, plastic wall skirts
  dimensions variable
• Loaded, 2010 dimentions variable, suitcases, intervention
• I Had an Idea, But Not That One, 2022-2023 Marble, concrete, metal, glass 61 x 80 x 120 cm
• Useless Constellations or When “Connecting Dots Theory” Gets Tired, 2022 Wood, artificial silk, metal, plastic 80 x 100 x 7 cm
• At the Level of the Eyes, 1998 letters on the wall
  dimentions variable
  existing in Bulgarian and English   Вземи от това изречение, колкото можеш да носиш
  Take from this sentence as much as you can carry   Дисциплинирана еякулация
  Disciplined ejaculation   Свободата ни подминава
  Freedom is passing us by   Природата е мазохист
  Nature is a masochist   Метафората е транспортна фирма
  Metaphor is a haulage company   Дървото на моите желания е бонзай
  The tree of my desire is a bonsai   Цивилизацията е навик
  Civilization is a habit   По-лесно е да вярваш, отколкото да работиш
  It is easier to believe than to work   Вие също ще умрете
  You too are going to die   Във Вавилон са говорили английски
  They spoke English in Babylon   Ако информацията е линия, тя е по-широка, отколкото дълга.
  If the information is a line then it is wider than it is long   Революциите започват от стомаха, познай къде свършват
  Revolutions start from the stomach, guess where they end up   Любовта е течност
  Love is a liquid   Игри, които не те изпотяват не са игри
  Games that don’t make you sweat aren’t games   Не чети a съзерцавай
  Don’t read – contemplate   И вие ли сте осъдени за същото
  Have you been convicted for the same thing   Изтрий след като го прочетеш 
  Erase after reading it   Как наричате стълба без стъпала
  What do you call a ladder with no steps   Информацията и порока се чукат в Интернет
  Information and Vice copulate on the Internet   Полет над релефа на значенията
  A flight over the outline of meanings   Еби лидерите за да родят нови
  Fuck the leaders so they breed new leaders   Хаосът на желанията се подрежда от разочарованията
  The chaos of desires is organised by the disappointments   Мислиш ли, че 69 беше по-добра от 96
  Do you think 69 was better than 96   Аз съм всеки и всеки съм аз
  I’m everyone and everyone is I   Трансформацията винаги отнема време и енергия
  Transformation always takes time and energy   Мислиш ли че си същият
  Do you think you are the same   Не ни забранявайте да бъдем бедни
  Don’t forbid us to be poor   Дебелото ми черво е черна кутия
  My colon is a black box   Твърде много сбъднати предчувствия
  Too many premonitions come true   За който се отнася  не бъди толкова наивен
  To whom it may concern: don’t be so naive   Циничната власт на съчувствието
  The cynical power of compassion   Паметта е мускул
  Memory is a muscle   Координатите X и Y нямат брак, Z е незаконен
  Coordinates X and Y are not married, Z is illegitimate
• Sensitive Monochrome, 2016-2019 bed sheets, computer fan, motion sensor
  dimensions variable
  unique work
• A Clockwork Sweat, 2016-2019 mixed media installation
  207 x 120 x 66 cm
  unique work
• The Chaos of Desires is Arranged by Disappointments, 2017 mixed media
  75 x 264 x 107 cm
  Courtesy: Le Guern Gallery, Warsaw
• Disconnected Memories, 2017 Wood, metal screws, 28 small photographs applied to the beams ends
  375 x 410 x 355 cm
  Courtesy <rotor> Center for contemporary art,
  Graz, Austria
• Half Truth, 1999 two-part installation: indoors and outdoors,
  various materials, dimensions and languages
  
  Installation view Musee des Beaux Arts, La
  Chaux de-Fonds, Switzerland
  
  edition of 2 versions + 1AP for each language
  edition 1/2 Deutsch version at Deutsche Telecom
  Collection
• Conquerors & Conquered, 2013-2014 silk ribbons for military and sports orders
  and medals
  308 x 300 cm
  Installation view:
  Krinzinger Gallery, Vienna
• Up or Down, 2015 340 x 935 x 58 cm
• Half Truth, Vienna version, 1999 - 2014 Laser cut metal on wall,
  two parts
  320 x 20 cm each part
  unique work
• Double Ornaments, 2016 installation
  cut carpet
  248 x 169 cm
• Hope, Hopeful, Hopefulness, 2005 manipulated traffic light, lighting only in green
• Pessimism No More, 2002 / 2004 cheese, plasters, plates, school desks and chairs
  Museum of Contemporary Art-Sydney, 14th Sydney Biennial
• Rise to Score, 2011 metal construction, basketball set, artificial palm tree, plastic pottery
  total height – 480 cm
  collection Vehbi Koç Foundation, Istanbul
• Territories, 1995 remade - 2003
  soil, fabric, wood, metal holders
  Fridericianum Museum, Kassel, Germany
  collection René Block
• There Are No Forbidden Thoughts, 2007 metal, electric motor, timer Watch video documentation here
• Transformation Always Takes Time And Energy, 1998 hot plates, pots, tea pots, cables, water, electricity, time
  dimensions variable
  edition of 4 variants
  edition 1/4 – Collection ERSTE Bank
• Ornaments of Endurance, 2011 cut carpet mounted on wall
  334 x 226 cm
  collection Vehbi Koç Foundation, Istanbul
• Form-From-Form, 2012 rotation mechanism, double-sided light box, metal post
  total height 460 cm
  realized during Sculpture Quadrennial, Riga
   
• Fairy-tale Device Crashed, 2013 cut carpet, aluminum construction mounted on wall
  274 x 420 x 92 cm
  collection Vehbi Koç Foundation, Istanbul
• Ornaments of Demand, 2011-2013 cut wool carpet mounted on wall
  255 x 175 сm
  Private collection
• So Many Reasons…, 2004 installation
  cut door and table, painted room
  Installation view from Gallerie fur Zeitgenossische Kunst, Leipzig, Germany   The work So Many Reasons…, 2004, was inspired from thoughts about tolerance as a mutual process. It plays with the idea that we could create common space only if we step aside and keep it for the other. In the context of an art space, the work could be read with more references as dichotomies: domestic and public, day life banality and art, accumulating home objects and sculpturing as a process of taking out the useless parts. However, the work has to be experienced by going through the door.
• Mystic Truths, 2013 intervention, pencil
  dimensions variable
  edition 3+2AP
• Trouble is Always Double, 1997-2015 two rods of stainless steel, two metal holders, red fabric
  total size: 282 x 120 x 165 cm

Object

• Unstable Monument, 2024 found objects, oil paitn on wood   The sculptural object "Unstable Monument," 2024, incorporates a cut-up door, parts of an office chair, platform wheels, and a text painted in oil.
  The text originates from a 19th-century letter by King Leopold I of Belgium to Queen Victoria, in which the king warns his cousin about the danger posed by artists, who are well-received by all classes, hard to control, and perpetually dissatisfied. Part of this letter’s text transitions into a fake propaganda poster presented online as a warning from the McCarthy era. Taken out of context and turned into a slogan, the text could also sound like a leftist accusation of artists' renegade nature due to their willingness to serve all classes.
  The image of the office chair and the static wheels of the main platform represent my self-ironic question mark directed at all three warnings. The work seeks to comment on a world where the rapid circulation of information turns every image into a meme and every word into hypertext. A world where both images and meanings collapse under the burden of being everything. A world where it’s fascinating to live on both sides of the mirror, as both sides are validated realities.
• Why?, 2024 mirror, text on wall The small installation “Why?”, 2024, seeks to place viewers in the uncertain field of inverted mirrored images and the unmirrored, double meanings of words. Left, right, up, and down are not only cognitive spatial directions but also political and social orientations. A world where nothing is simply itself, and the viewer must choose which side of the mirror is trustworthy.
• Box for Banners (Fahnenkasten), 1994 -1995 an object of 4 separate panels.
  Hardboard, fabric, acrylic paint,
  aluminium construction on the back, 124.5 х 248 х 8 см
• The Kingdom of Wish and Waste, 2004 silicone,
  60 x 400 x 60 cm
• Eternal Life, 2019 plumbing parts, sausages
  122 (dt.) x 5 cm
  unique work
• Robots Don’t Sweat, 2016-2019 aluminum cast
  83 x 53,5 x 10 cm
  unique work
• Wrinkles of Modernity, 2015 metal, acrylic glass, carpet
  318 x 216 x 80 cm
  Vila Empain, Boghossian Foundation, Brussels
• Trap, 2007 mouse trap, electric
  bulb, holder, cable
  13 x 13 x 27 cm
  edition 3+2AP
• Untitled (Curly Brush), 2009 object
  curled brush
  34.5 x 9 x 5 cm
  edition 3+2AP
• No Name, 2004 multiple, silicon, cement
  13 x 17 x 30 cm
  edition: 5
  4 available  
• After Durer, 2015 drawing
  mixed technique
  59 x 60 cm
• The Ladder, 2015 wood, metal
  330 x 230 x 85 cm
• Childhood, 2014 20 x 10 x 60 cm without the cable
  edition 2+1AP
• Thought Within a Thought Within a Thought, 2008 object of laser-cut steel, powder coated in black
  133 x 167 cm
  edition 5+2AP 
  editions 1, 2, 4,5 - private collections
  3/5 in European Investment Bank Art Collection
• Memory is a Muscle, 2007 resin, silicone, polycarbonat
  300 x 100 x 100 cm
  52 Venice Biennial, Bulgarian Pavilion
• There Are No Perfect Games, 2008-2012 installation of modified found objects
  dimensions variable
• Ready-made, 1996 object

Mixed Media

• Feature Film, 2023 (– I would like to draw you.  – I do not understand what you are talking about.) Pencil, tempera, oil on 300g Arches, TV wall stand 65 x 112 cm
• Tools, 2013 B&W photo, newspaper, printed paper
  85 x 116 cm framed
  edition 2

Artworks with Light

• Almost Perfect Lovers, 2019 two RGB lamps, remote controlled
  26 x 55 x 8 cm
  edition 3+2AP
• Border by Memory, 2006 object, neon
  edition 5+2AP
  
  collection: European Investment Bank Art
  Sofia City Gallery and private collections
  
  -
  Border By Memory is an image of my attempt to draw the line of the border between Bulgaria and Romania by memory. The drawing and respectively the neon are very approximate and not correct picture of that border. Every mistake of my hand was “loss to” or “enlarge” this or that of both countries. The title itself is a clue for understanding the work and its references to the memory and history of that border and its dramatic transformation during last century, affecting many lives from both sides.
• What You See, 2013 neon mounted on metal box
  100 х 100 x 11 cm
  part of the project What You See is Not
  What You Get
  edition 3+2AP
• Little (Much Too Little /A Little Too Much), 2009 installation
  neon, automatic switch
  170 x 16 x 5 cm
  edition 5+2AP
  edition 1/5 Private collection

Painting

• Withdraw, 2013 aquarelle on 300 gr Arches paper on
  stretcher
  60 x 45 cm
  Part of the project What You See is Not
  What You Get

Drawing

• Few Words, 2022 colour pencil
  21 x 29.7 cm  
• Drawings by Hand (The Image Cannot be Read), 2023 Drawings on paper various sizes and mediums
• Study for the Secret Language of a Pandemic, March-April 2020 pencil, watercolour, oil paints, pastel on thick primed cardboard
  151х114 cm
  Collection: DOT, Sofia  
• Untitled, 2020 drawing
  29.5 х 21 cm
  From the series Quarantine, started March 2020 "If we want life back to the way we liked it, do we have to rethink the values with which we created it?" P.I, 31.03. 2020, Sofia
• A dream I had on March 24th 2020 drawing 29.5 х 21 cm From the series Quarantine, started March 2020   24.03.2020 By 3 in the afternoon I fill dizzy and went to bed. I dreamed that people could see into the future by wearing a simple medical mask put on eyes. I saw a lot of people around me doing it. I moved my mask from the mouth to my eyes and saw how some compelling, invisible force drives the right-handers had to do everything with the left hand and vice versa, the left-handers had to do everything with the right hand. The world was the same, but much more awkwardly made. I couldn’t understand why everything had the same yellow-reddish color. At first, I decided that everything was made of copper, but then I looked as if things were smeared with iodine. David woke me up by running into bedroom shouting - Dad, we’re making a movie with Mom. / Pravdoliub Ivanov
• Broken Carpet, 2011 (for the later realized works Ornaments of
  Endurance, Ornaments of Demand и Double
  Ornaments)
  preparatory drawing
  hand colored ink-jet print,
  watercolor on paper
  21 x 20,7 cm
  Collection Deutsche Telekom
• Pessimism No More, 2002 preparatory drawing
  colour pencil on paper
  21 x 29.7 cm
  Collection Deutsche Telekom
• So Many Reasons, 2004 preparatory drawing
  pencil and watercolour on paper
  24 x 30.5 cm
  Collection Deutsche Telekom
• Too Personal to Matter, 2013 ink on paper
  140 x 110 cm
  collection: Rene Block
• From the series Existing Subjects, 2007 drawing, tempera and pencil on paper
  35 x 26 cm
• Zig Zag Palm tree, 2011 drawing
  23 x 31 cm
  framed
• From the series "Disasters", 2012 drawing, tempera and aquarelle on paper
  57 x 60 cm each, framed
  unique works
• Water Spiral (project), 2011 preparatory drawing
  pencil and watercolor on paper
  unframed
  36 x 48 cm
• Form From Form, 2011 preparatory drawing
  pencil and water color on paper
  framed
  50 x 33 cm (size unframed)
• Self Portrait Around the Clock, 2011 pencil and watercolor on cut paper
  unframed
  76 x 56 cm
• Sudden Ornaments in Continuum, project, 2015 print and pencil on paper
  unframed
  21 x 29.7 cm
• Picture, 2013 aquarelle on cut 300 gr Arches paper on
  stretcher
  Part of the project What You See is Not
  What You Get
• Study of Bivalent Objects Series Table and Wood
  2016-2017
  oil on paper
  110 x 164 cm
• The Truth About The Truth, 2012 drawing
  pencil, black ink on paper
  110 x 145 cm
• Silver & Gold, 2013 oil on 300 gr Arches paper on stretcher
  90 x 110 cm
  part of the project What You See is Not
  What You Get
• Existing Objects-VII, 2002-2003 digital drawing
  21 x 29.7 cm
• Trouble is Always Double, project, 1997/2007 pencil and watercolor on paper
  29.7 x 21 cm
  Collection Deutsche Bank
• Load on, project, 2010 pencil and watercolor on paper
  21 x 29.7 cm
• Memory is a Muscle, 2007 drawing
  21 x 30 cm
• Illusion III, 2011 ink, tempera on paper
  57 x 60 cm (size framed)

Collage

• Rise to Score, 2011 collage, tempera on paper
  45 x 35.5 cm
• Through, 2013 collaged cut photo prints mounted on board,
  plexiglas box
  50 x 55 x 6 cm
  Part of the project What You See is Not What You Get

Photography

• James, 2010 B&W photo mounted on aluminum
  53 x 80 cm James (17) – currently working as a naked model at Fine Arts Academy, Sofia. He never attended school cause of his parents (housewife and dyer) decision. He is an autodidact. James is well-versed in all school subjects. He speaks three foreign languages. It’s a pleasure to talk with him about literature, philosophy, and cinema. His hobby, recently, is computer programming.
• Existing Object XII-B, 2003 color photo
  60 x 40 cm
  edition 5+2AP
• From the series Non-Works ongoing project started 2007
  color photo
  76 x 100 cm
  edition 5+2AP
• Hand Print, 2000 two color photos
  50 x 75 cm each
  edition 3+1AP   The refrigerator of Pravdoliub Ivanov seen in the photos was not intentionally emptied. There was almost nothing in it so the author decided to melt the ice in the fridge chamber with his own hand and made photo documentation in two steps. As matter of fact, the imprint of a human hand is one of the oldest artefacts, about 37,000 years BC. This reference is important for getting to the matter like domestic (personal, hidden) – exposed (shown, not personal), comfort – soreness (discomfort), art – non art, that the two simple snapshots tries to evoke.
• One Hour, 1996 photo installation,
  photographed 60 minutes of one hour
  B&W photo
  20 x 20 cm each
  edition 3+2AP
• From the series Non-Works ongoing project started 2007
  colour photo
  26 x 35 cm
  edition: 10
• From the series Non-Works started 2007
  colour photos
  60 x 40 cm
  edition: 10
• From the series Non-Works started 2007
  colour photos
  60 x 40 cm
  edition: 10
• From the series Non-Works started 2007
  colour photos
  27 x 35 cm
  edition: 10
• Bent Figure, 1997 photo-lithography on paper
  120 x 85 cm (size framed)
  edition 3+1AP
  edition Nbr. 3/3

Print

• Why?, 2024 litho on cotton paper Hannemule
  Еdition 7   The work is a print continuation of the installation "Why?", 2024, but in this case, the paradox of mirroring is provided by the inverted image of print technology. The artist always paints a mirror image on the stone.   
• Half Full, Half Fallen, 2024 Litho, cotton paper Hannemule
  edition 7 Positivism and consumerism make us think that the optimist/pessimist's dilemma of having or not having is the most important existential question, but maybe now the most important question is not whether you have, but whether you are.  Both in Bulgarian and in English the title sounds like a play on words.  

Video

• A Trip, 2009 video
  2’03”
• Natural Fear, 2014-2016 HD, sound, 2’30‘‘
  edition 5+2AP
• Black Balloons, 2013 HD video, sound, 1’10”
  edition 5+2AP

Site-specific

• Loop Escape, 2021 Site-specific installation
  various textiles,
  h-800 cm
  Kunstraum Kesselhaus, Bamberg, Germany
• Everything Will Be OK In The Future, 2019 12 m metal train rails installed non paralel, Ytong aerated concrete blocks
  Part of Pravdoliub Ivanov's solo show The Life of Others is Somehow Easier, 2019
in Arsenal Gallery, Bialystok, Poland
  Curated by Monika Szewczyk
• 3 Square Meters Cleaned Up, 1995 Site-specific intervention, Old Turkish Bathhouse, Plovdiv, Bulgaria
  Cleaned corner, framed title
  B/W Photo, 100 x 100 cm
• Path, 2006 installation on situ
  1.60 x 0.80 x 100 m, wood, nails
  Darmstadt forest, Germany
• Behold, 2011 laser cut mirror letters,
  Atom Bomb Shelter, Konjic, Bosnia & Herzegovina The text is placed on the staircase toward Tito’s apartment at the second floor of the bunker.
  The used typeface is the same as on Yugoslav's army hand written military maps. Such maps are still on display in the atomic bomb shelter.
• The Life of Others is Somehow Easier, 2005 5 dog houses hanged on the trees in a public park,
  Regensburg, Germany
  Installation view and detail
• Enlightenment, 2008 wall intervention
  acrylic paint
  dimensions variable
• Never Enough, 2011-2013 paper stencil, spray paint
  75 x 260 x 4 cm
• Insomnia, 2011 site-specific project
• Monument to the Unknown Washerwoman, 2005 metal base, washbasins and buckets
  1100 x 100 x 100 cm
  Luxembourg, Courtesy: Casino Luxembourg - Forum d’Art Contemporain
• This is not Art…, 2011 project, site-specific, plasticine, blackwall
  dimensions variable
  edition 3+2AP

Other

• Illusion III, 2010 ink, tempera,
  laser engrave on paper
  36 х 48 cm