This exhibition, titled "Symmetry of daily routine' 24", features the works of Georgi Georgiev - Jorrras, who is known for pushing the boundaries of conventional aesthetics with striking installations made from styrofoam and layered colours. The artist’s approach challenges traditional ideas of beauty, inviting viewers to engage with art in unexpected and thought-provoking ways.

While the visual language may diverge from classic forms, the exhibition reflects our belief that art sparks conversation and inspires new perspectives.

Viktoria Draganova, curator, and Georgi Georgiev - Jorras, artist

foryouandyourcustomers: Georgi, tell us more about your style and the preferred forms and materials you are using when creating art. How is the current exhibition different from your previous projects? What were some of the challenges and rewarding moments you experienced during this creative journey?

Georgi Georgiev: I’m not sure if I have a distinct style; I prefer to think of my work as free from the constraints of a set style. Style, in itself, can sometimes act as a kind of solidifying - a kind of self-cementing. Once that happens, it can be difficult to break out of it. I like to think of myself and my work as having an independent spirit. This allows me to respond more spontaneously, fluidly, and naturally to each project, series, or artwork. For my approach and creative process, that freedom is essential.

On the other hand, this exhibition is not all that different from my recent projects - it has almost the same qualities and characteristics, both in the materials I used and in its overall execution. At the same time, however, it differs significantly on a much finer, semantic level. There’s an attempt here to explore colour in its own right - as a carrier of different layers of encoded meaning. To me, colour is a language, a form of communication where the irrational takes the lead.

As for significant moments and challenges, for me, they’re all part of a single continuous process. One such moment was the idea to collect items from each of you - the team members who work in this space. In truth, as an artist, I don’t usually have a need for this kind of contribution, neither materially nor conceptually, when creating a particular piece. I’m fairly self-contained, and typically a solo player, so taking on something this complex - even just from a logistical standpoint - would usually be a challenge. And yet, it wasn’t quite so simple. Through this gesture, I actually pushed myself outside my comfort zone, needing to take into account many new and unpredictable elements. In a way, I added a large, irrational variable to the equation. So, your involvement ended up being essential for me, and I’m very grateful to you all for that.

I actually pushed myself outside my comfort zone, needing to take into account many new and unpredictable elements.

— Georgi Georgiev - Jorrras

Each object carries its unique code and signature, adding depth and challenge to the process. I’m not focused on mere aesthetics or decoration but on the semantic connections and tensions—depth over form and surface.

foryouandyourcustomers: Viktoria, what unique qualities of Georgi's work led you to select him for the exhibition in Sofia taking place in 2024?

Viktoria Draganova: I have been following Georgi's work for years and know that he is an artist who thinks very carefully and builds his practice over time. I like his focus on working with materials, the presence of art in the space and his relationship with the many people who really follow and appreciate his work. Additionally, Georgi manages to combine many opposites in his work - starting with the packaging/building materials combined with painterly elements; bright colours contrasting the white/beige of the steropore or cardboard; playfulness and even comicality in the structuring of each piece that ultimately results in the seriousness of the painterly canvas.

He says himself that the office show combines the elegance of Chanel with the punk of Vivienne Westwood - and anyone who comes to see the works will see that this is indeed the feel of the exhibition. 

foryouandyourcustomers: Georgi, why did you accept the invitation of foryouandyourcustomers? What attracted you to it?

Georgi Georgiev: The main reasons for my decision are two: The first is that the company genuinely values the process of producing, exhibiting, and realising visual art. There’s a track record here for that - a history that, when viewed through time, makes this commitment feel even more authentic, at least to me and in my worldview.

The second reason, equally important, is that I sensed the space had a resonance that suited my work remarkably well. I sensed a unique narrative here: all the rooms, chairs, desks, and screens - the classic, neutral gray office environment - which I could use to support, expand, and create connections and counterpoints within my series, "Symmetry of daily routine' 24". After all, I should mention that this series has been maturing and taking shape within me for quite some time - four years now.

So, it turned out to be the ideal alignment of shared interests. But the best part was that these reasons evolved into opportunities, for which I am deeply grateful.

foryouandyourcustomers: Both, what inspired "Symmetry of daily routine' 24" as the title of this exhibition? Are there multiple meanings behind it and if so, would you elaborate? How does the title tie all the objects in the exposition together?  

Viktoria Draganova: Joro (short from Georgi - translator’s note) suggested the title and I accepted - it seems to me very interesting to work in the plane of one logic, one series and one concept and each time to look for the change, the upgrade or the immersion in certain elements.

Georgi Georgiev: This project’s got a bit of history - I’ve been giving thoughts over it for a good while now, with the first pieces of this series going back to 2020. The title itself doesn’t aim to be literal or logical; it’s more of a poetic direction, a metaphor. Like all my projects, this one’s personal - in the context of personal searching, rethinking, and way of sensing things. I insist my work to have a personal touch, to really get to you, to spark something in you, make you dig deep, keep you up at night, maybe skip a meal, or even go a bit overboard here and there, and most of all to steal time you’d normally give to your closest ones. It’s just you and your work - completely intimate process. Without that, there’s no heart in what you’re making, and that’s something no visual artist should let slip into their practice. Otherwise, all you will produce is packaging, a brand. There’s gotta be a pulse, that thump-thump, that drive, that passion in your work and your process.

The title is also a framework, a guide that holds everything together, a key that’s crucial for the project’s overall integrity. Each piece is supported withing a shared context, and I approached all of them with that focus in mind. None of the individual pieces have specific titles - adding them would just clash with the broader framework and the overall idea, creating inner tensions. By keeping them untitled, as simple, separate modules without added meanings, they remain as neutral as possible. That was absolutely necessary for bringing everything together in the space and creating the dialogue, the connections between them.

foryouandyourcustomers: What is the main theme of your work, and how do the materials and your approach reflect it?

The main theme is existential. The title itself ("Symmetry of daily routine' 24") is a metaphor, a verbal figure, for questions like: who are we, how do we move through this world, what kind of trace do we leave? Are we even real? Or are we just dreaming up cheap, quick, easily digestible thought constructs? Are we selling ourselves a little short - selling out for a “bit of styrofoam”? My narrative and interpretation are visual, of course - I’m a painter, after all. What fascinates me are the connections that emerge by combining and contrasting different materials and forms. And as you can see, I mostly use unconventional materials, which aren’t typical for art. They’ve still got that rawness of time, that unprocessed freshness of perception.

The title itself ("Symmetry of daily routine' 24") is a metaphor, a verbal figure, for questions like: who are we, how do we move through this world, what kind of trace do we leave?

— Georgi Georgiev - Jorrras

By choosing these specific materials, I’m directing the viewer, hoping to evoke these deeper connotations. And it all connects to my own journey of rethinking colour itself. I’d even call it a way of empathising with the colour. You might also discover on a slightly synthetic, lab-like approach I’ve taken to the painting process.

To give you an idea, here’s part of a text I wrote back in 2020 when this series began - a piece that perfectly captures my intentions for this project:

"…Beauty and the miracle of being alive are reduced to something dull, boring, taken for granted. Everyday life, forged from sad grandeur, fear, and the mad stare of someone who thinks—though never out loud—that he’s eternal. A concrete pony."

foryouandyourcustomers: Georgi, can you share insights into your creative process? Do you begin with a clear vision of what the exposition pieces will be, or does your art evolve organically as you work?

Geogri Georgiev: Earlier, I mentioned the irrational aspect, so yes, things happen absolutely organically for me. At first glance, my process may seem somewhat chaotic and spontaneous, but in reality, it’s incredibly structured, well thought-out, and precisely calculated - just not in the conventional or commonly encountered way. I believe this is one of the key skills that distinguishes a professional from someone pursuing a hobby or doing something for pleasure: maintaining that carefully calculated pace of project realization without succumbing to panic, for instance. It’s like crossing the Thermopylae pass in July or August, fully armed, and at a forced march. If you haven’t calculated your water and food supply, you won’t make it on time - if you make it at all. That’s a bit of a joke, but it’s also a general way of explaining it.

The process, especially at the beginning, doesn’t involve sketches or a specific sequence of strictly planned actions. Perhaps that’s why I never work with subcontractors: I insist on doing everything myself - lighting, bending Plexiglas, and other seemingly non-creative tasks. If there’s something I don’t know how to do, that’s just an opportunity to learn a new skill. That’s why my interaction with the materials and the acquisition of new skills becomes a way to understand, process, and then apply everything in my practice. The material itself is self-sufficient - it’s like an entire universe. This is an ongoing process of personal enrichment and self-development. It’s like climbing a ladder, constantly moving upward, with each preceding step holding its own place, purpose, and meaning.

To realize this series of works, I literally had to invent my own proprietary techniques; otherwise, achieving the final result wouldn’t have been possible. Here are a few mundane examples: cutting Styrofoam boards with a simple utility knife is a causa perduta. That’s classic oil painting on specially selected paper for the purpose, protected with a lacquer coating against moisture, dust, and UV rays. Over several months, I created more than a thousand of these strips in different shades and sizes. Without them, you can’t transition from the virtual to the real playing field.   

foryouandyourcustomers: Viktoria, what inspired the arrangement of the objects in their current order?

Viktora Draganova: The artworks are far from concrete narratives - quite in contrast to Nevena Ekimova's previous exhibition. So this time we were really guided mostly by the art objects not only standing harmoniously in the space, but also pleasantly surprising upon closer inspection.

foryouandyourcustomers: Georgi, each artist has brought a unique personal approach to collaborating with team members before creating their art for the office. Can you tell us more about the personal approach taken for this exposition?

Georgi Georgiev: For me personally, especially given my natural tendency to work mostly alone, this was truly interesting and very energizing. First, because experiences like this are rare in my practice, and they allow you to see yourself and what you’re doing as an artist in a slightly different context and environment. I see that as a chance for self-exploration and rediscovery.

foryouandyourcustomers: Viktoria, how do you think the exhibition "Symmetry of daily routine' 24" transformed the atmosphere in the office?

Viktoria Draganova: I'd like to believe that the people working in the office are comfortable with Georgi's work, and would share the adventure that each one offers. His art can't be covered in one glance, there is something to discover in each object and time after time. I suppose this multi-layeredness - literally and figuratively - is what the exhibition managed to bring to the office spaces.

Surrounding ourselves with art is an essential part of foryouandyourcustomers’ corporate philosophy. Across all our international locations, it is a continuing tradition to organize contemporary art exhibitions in collaboration with local curators. Over the past 14 years, this initiative has resulted in high array of exhibitions, now approaching 100 – a milestone that reflects more than just a number. Each exhibition represents our belief in fostering creativity within the workplace while supporting artists as they grow and evolve. Personal development, after all, is a cornerstone of foryouandyourcustomers’ values.

In Sofia, we’ve embraced this tradition with a unique twist. Here, we seek to create a deeper connection between the exhibited art and our employees – allowing the artist to decide how that connection takes shape. Part of the excitement is that we rarely know what the final works will look like until shortly before the exhibition opens. This element of surprise is something we welcome, as trust forms the foundation of our company culture. By placing confidence in the curators and artists, we’ve seen how creative freedom can lead to truly remarkable results.

Georgi Georgiev, known as Jorrras, is a contemporary artist specializing in painting, drawing, and installation art. He has received multiple prestigious awards, including the St. Cyril and St. Methodius Foundation's Second Prize in Painting and the Association Art Dialogue-Paris award. Jorrras has held solo exhibitions in Sofia, Vienna, and Plovdiv and participated in numerous international group exhibitions. He continues to live and work in Sofia, contributing significantly to the contemporary art scene.

Viktoria Draganova is a curator, writer and educator. She lives and works in Sofia and is an active figure in the artistic and cultural fields. In 2015, she founded  Swimming Pool – an art space in Sofia focusing on curatorial and art research, collaborations, and art education.  In 2021, she initiated the Center for Social Vision, an interdisciplinary platform for art’s involvement in social processes. Viktoria is also the publisher of Sofia Art Map. Viktoria has curated more than 30 exhibitions and projects with Bulgarian and international artists, including the large-scale projects "The Possible Institution" (2021) and "New Ecologies" (2023). She is an initiator of several educational programs and large interdisciplinary public programs, as well she has written for critical publications, magazines, and artistic catalogs. 

In 2024, Viktoria Draganova also successfully placed the "Symmetry of daily routine' 24" exhibition with artist Geogri Georgiev - Jorrras. This is the curator’s 4-th exhibition in collaboration with foryouandyourcustomers Sofia.