KRASI DIMTCH = Krasimira Dimtchevska + Language-based Art


Los Angeles Center for Digital Art
"Open source" international art group exhibit
Reception: Saturday, October 13, 6-9pm 
Exhibit Dates: October 11-November 2, 2018

Image may contain: plant

Spotlight - Contemporary Art Magazine | 11   Published on Nov 4, 2018 
Featuring Remarkable Artwork by:
Yanika Anukulpun ∙ Jiaranai Apaipak ∙ Cristian Bodogan ∙ Kathrin Broden ∙ Małgorzata Buczek-Śledzińska ∙ Balazs Buda ∙ Mandy Budan ∙ Francesca Busca ∙ Laara Cassells ∙ Monika Casutt ∙ Janice Corkin Rudolf ∙ Lynden Cowan ∙ Barbara Crimella ∙ Barrie Dale ∙ Krasi Dimtch ∙ Yuxuan Ding ∙ Cordelia Doll ∙ Stacie Flint ∙ Linda Foard Roberts ∙ Eduardo Fujii ∙ Egon Gade Artwork ∙ Michael Ian Goulding ∙ Martin Hagen ∙ Imre Hasanic ∙ Yaman Hu ∙ Toshio Ishikawa ∙ Muge Karamanci ∙ Heike Karcher ∙ Yvonne M. Klug ∙ Carol Ladewig ∙ Karen Landrigan ∙ Reiner Langer ∙ Nikolay Lavetsky ∙ Derwin Leiva ∙ Justin Love ∙ Tobbe Malm ∙ Daria Martinoni ∙ Attila Mata ∙ Nevine Mattar ∙ MB Photography ∙ Elizabeth Miller Mccue ∙ Tatiana McWethy ∙ Guillaume Menuel ∙ Manuel Morquecho ∙ Chad Mount ∙ George Emil Odthermat ∙ Viral Padiya ∙ Nadja Petrovic ∙ Laura Phelps Rogers ∙ Jose Luis Quinones ∙ Arturo Javier Reyes Medina ∙ Peter Riss ∙ Peisy Ting ∙ Adele Venter ∙ Stéphane Vereecken ∙ Laurens G. Vermaesen ∙ Avril Ward ∙ J. Thomas Wells ∙ Charles Whiting ∙ Evgeny Yakovlev ∙ Guilherme Zawa

For the outstanding quality and originality of my art the jury of 


awarded me the 

1st PRIZE  icon-paa-1stprize2018

Patterns of Language: Art by Krasi Dimtch

By Dallas Jeffs

An abstract digital artwork composed of overlapping three-dimensional formsAlien entity reveals the meaning of life, print on plexiglass

Krasi Dimtch creates digital artworks based on patterns of language. Krasi’s works are, at first glance, psychedelic, with patterns and colors far removed from any recognizable figures - but once the viewer understands the artist’s process, patterns and meaning start to appear.

An extremely complex digital abstract work made with green colorsThe Gardens of Incomplete Delights -4


I really enjoy the totally futuristic style that Krasimira utilizes in all of her works. The artist has created a distinct visual language that’s all her own, and seems to almost deliberately defy categorization in any existing or known artistic movement. The complex digital patterns rendered in Krasi’s works also remind me a bit of Melissa Ann Lambert’s digital explorations, where the artist focuses on an internal visual language and logic.

A screen capture of Krasimira Dimtchevska's art websiteKrasimira's portfolio website,

The level of detail that Krasi achieves in each of her works is quite stunning. Images that look simple at first reveal numerous layers and complex masses of overlapping, string-like forms upon closer inspections. Even the backgrounds, which generally follow a fairly basic color scheme, are textured with subtle geometric patterns.

1. As someone who’s art revolves around language, how do you feel about the changes occurring in the way we communicate because of digital communication and the ubiquitous use of social media?

We are all aware that the Internet and social media are reconfiguring our world, for better or worse. I personally view digital communication as part of the evolution of Language. Language—the way it shapes our thoughts and the way we communicate through it digitally or otherwise  - is like the Force "holding together good and evil, the dark side and light" to use the Star Wars analogy.


2. When did your fascination with language begin?


 Language became my spiritual guide and my liberator during a period of retrospection when I stopped making art and began searching for ways to disrupt the boring predictability of my pre-learned answers to a number of existential questions plaguing me. At that time I was desperately trying to overcome preconceptions and belief systems I was thought to comply with. My constant attempts to escape my mental prison were ineffective until I decided to devote myself to the practical development of the idea that every possibly sayable thought could be found in a semantic net formed by sequences of synonymous words. I still remember the moment of "revelation" when I found a proof of the fascinating powers of Language in the sequence of English synonyms: death syn. event syn. result syn. results in + completeness syn. omneity". At that time English was a language I barely understood but with the help of Microsoft's Bookshelf Thesaurus I gradually became almost fluent in it, wrote a patent application, and in 2013 was granted a patent for methods for language generation and representation (CIPO-Patent-2704163). After that I started to make art again.

3. Is there an artist who has had a profound influence on your work?

For me Human Language is the greatest artwork ever created and the collective human mind is the greatest artist of all times. In my search for answers and original ideas I have explored thousands of sequences of English synonyms of various lengths and complexity. I still remember how surprised I was when I realized that one of the definitions of art that I found in one very long sequence of synonyms could be used as a textual description of actual contemporary art installations.

For me the evolving semantic structure of Language is not only the place where all human mental experiences are being encoded but also the place where all human beings including artists and makers of ideological narratives find their ideas.

4. Am I correct in saying that you own a patent with regards to the software you use for your art, how did that come about?

My linguistic explorations made me realize that artworks in digital age should not be necessarily defined by their mode of presentation - whether as computer codes, images, sound patterns, or texts - which gave me the idea of formulating the methods and the algorithms for the generation of English sentences and their transformation into visual structures and sequences of sounds representing them. Before applying for a patent, the methods and the algorithms had to be tested by a computer program written by my husband Svillen Ranev. Now, with the help of the software, I create language-based artworks that can be read, heard, or looked upon, all of them differently representing the contents of possibly sayable speculations about human existence, aspirations, truth, art and death. My working process starts with the compilation of a text composed of sentences generated by the software. The sentences are then digitally converted by the same software into sounds for my sound art or different visual patterns to be used by me for my visual art. The visual “translations” of the text I create manually by using computer mouse instead of paintbrush and generated by the software patterns instead of acrylic paints. This is a highly subjective process executed in a way possible for the first time in the 21st century.



5. Could you tell us a bit more about “dibillion dibinfinities”?


What is on the Internet now is only a cryptic symbol of a dream project and work in progress called Dibillion dibinfinities.

 Dibillion Dibinfinites - Digitally Immortal BILLION of DIctionary Based INFINITES - is a generative system for measuring time not in our traditional time units of equal duration but in dibinfinites. Dibinfinites belong to a class of appearance-shifters that can take the forms of electromagnetic signals, binary codes, novel sentences, sequences of synonyms, sequence of sentences, images, sounds or sequences of sounds. All dibinfinites are of variable durations- some sound-based dibinfinites can last millennia. Each individual dibinfinite is a unique event which once manifested is never going to re-appear during the lifetime any of their mortal observers (unless it has been preserved digitally).

The Dibillion Dibinfinites generator is based on the software for generating English sentences and transforming them into visual and sound compositions. The Dibillion Dibinfinites generator should be able not only to produce infinitely many non repetitive dibinfinites but also like the physical universe should be able to go on and on long after I am gone.


6. What message are you trying to convey through your work?


My art is the expression of my belief that everything, no matter how incomprehensible at the moment has a meaning in itself.  My artworks are the result of actual intellectual pursuit and have at least two components: a text and its visual or audio representation. The interpretation of the text and the image and the sequences of sounds representing it I leave to the audience. For me there is never one way of interpreting art because I think that no artwork is complete without its viewers' intellectual and emotional input into it.  


7. Do the results from the translation from text to imagery still surprise you?

Endless are the possibility of differently representing texts as images or sounds. From time to time I develop new set of transformation rules and some of the results really surprise me. But what always surprise me are the results of the manual transformation of sequences of English synonyms into thesauri poems. Take for example the verse: targets titter in their coffins setbacks pose as aims. Can you believe that I found it in the sequence of synonyms:  target syn. chase syn. cry syn. titter in + chase syn. goal syn. focus syn. coffin syn. grave syn. death syn. setback +  grave syn. pose as +  goal syn.  aim?



8. What are you working on currently?

I have just had an exhibition the title of which was "Every letter is a sound, every word is an image".  One of the pieces there "Every letter is a sound" was a demonstration of the process of transformation of English sentences into sequences of non-speech sounds.  I am currently working on a polyphonic sound installation based on the same idea.

I should add however that a constant for me these days is the "aimless" creation of digital art just for the joy of it and the search for thesauri poetry just for the intellectual challenge of it.



9. How many languages does Krasimira speak? I understand Bulgarian, English, French, Polish and Russian but I think only in two of them - Bulgarian and English. What is interesting for me is that although Bulgarian is my mother tongue all of my linguistic thoughts now are a combination of English and Bulgarian words.

Title/Theme: I babble, therefore I am

Participating artists: Jocelyne Aird-Bélanger | Adrien Asselin | Noémie Avidar | Berko | Valérie Boivin | Patricia Bouffard-Lavoie | Gail Bourgeois & Pira Pirani | Renée Chevalier | Pál Csaba | Michael Cumming | Lillianne Daigle | Céline J. Dallaire | Krasi Dimtch | Richard Doutre | Agata Dworzak-Subocz | Marilyn Etchky | Laurence Finet | Denyse Gérin | Olena Golub | John Graham | Saeko Hanji | Florentia Ikonomidou | René Kempen | Isao Kobayashi | Denis Larouche | Denis Leclerc | Mandeep Singh Manu | Mónica Márquez | Louise Mercure | Joseph Muscat | Ralph Nevins | André Paquin | Martine Périat | Henry Pouillon | Josée Prud’homme | Izabella Retkowska | Anne Roulant & Gilles Guillaume | Carole Roy | Komi Seshie | Svetlana Swinimer | Gilles Vallée | Jozina Marina Van Hees | Michel Vautier | Michael Wagner| Pierre Woerner

I babble, therefore I am
Walter Benjamin foresaw it 80 years ago. Andy Warhol put it in practice 50 years ago. More recently contemporary art philosopher Yves Michaud described it in these terms: “As for producers, artists, artisans, and curators, the point is not to show master pieces but to leave one’s mark, to be recognized, and to endure, including as often through the fiction of a redesigned and forged identity.” It is the triumph of aestheticism.

Self-exposure has stimulated the artistic community before spreading to the general population through the Facebook syndrome. A Facebook wall can be considered as a work of art. Mixing text, fixed and moving images, sound, and hyperlinks (it’s multimedia!), everyone projects a made-up life on it. It’s low art, of course, but it addresses the same issues as high art contemporary artists.

The 12th International Digital Miniprint Exhibition invited artists to push the issue, to aestheticize their personal and ordinary life, and to convey the astonishing beauty of meaningless things. Subjects abound: selfies, daily life in its utmost banality, the superficiality of personal histories, the sensation of spectacular odysseys, and the kitsch of familiar objects. The perspective could be serious or ironic, polished or sketched, plainly factual or strangely imaginary. The key, always and everywhere, is to push oneself forward and blow one’s own horn.

— Raymond Aubin, curator





LUZ art gallery is opening the fall season with a group exhibition of photographs and prints by five contemporary artists.

01 septembre, 2017
By Dorota Kozinska

Like a harbinger of exciting things to come, Galerie Luz, located in the Belgo building among dozens of other contemporary art galleries, is starting the new season with a group exhibition which is the gallery's forte.


Operating two spaces, its director and owner Luz Zapata is showcasing the work of Ottawa-based Krasi Dimtch in Gallery 1. Born in Bulgaria, with a master's degree from the Warsaw Academy of Fine Arts in Poland, she is a multimedia artist creating digital, conceptual and sound art with encoded linguistic content, exploring the structure of language as a 'repository of ideas'. Her solo presentation, titled Every letter is a sound...every word is an image, encapsulates that concept. Her language-based artwork can be read, heard, or looked at; all, in different ways, representing the "linguistic contents of hopes, fears, and disbeliefs about art, death, and the meaning of life", to quote the artist. Fascinating stuff.

In the second gallery space, four Montreal artists are showing their works, their images conversing across the small room. Camille Tellier is an emerging photographer and graduate of the Marsan College. Her images have an instantly recognizable urban feel. It corresponds well with Sacha Marie Levay's contribution, both images focusing on graphic composition devoid of human presence. Levay works as a frame conservator and gilder and the Montreal Museum of Fine Arts. Josée Charbonneau adds a touch of colour to her otherwise monochromatic photograph. A printmaker with Atelier Circulaire, she is an accomplished artist with numerous exhibitions under her belt. Benoit Robert works and teaches in the field of special effects for the cinema and his image is both abstract and surreal, and its title – Chicoreus quod Helianthus – does little to decipher the enigma. Enjoy the explosive composition for its visual impact.


Galerie LUZ

372 St. Catherine St W 
Room 418 
Montreal, QC externe) 
August 30 to September 16, 2017

KrasiDimtch, Every letter is a sound...every word is an image

Josée Charbonneau 
Sacha Marie Levay 
Benoit Robert 
Camille Tellier

Krasi Dimtch: Every Letter is a Sound... Every Word is an Image

31 August-16 September

Gallery Luz- Belgo, Montreal, Canada


Canadian multimedia  artist Krasi Dimtch’s latest solo exhibition focuses on the development

and use of atypical means for representing the symbols of Language through digital, conceptual, and sound art. ‘Every letter is a sound... every word is an image’ will feature language-based artworks that can be read, heard, or looked upon, all of them differently representing the linguistic contents of hopes, fears, and disbeliefs about art, death, and the meaning of life.


Highlights of the exhibition include ‘Death-free universes… points of entry’ which is presented

in the form of a poetry book, illustrating how the thesaurus-like organized structure of the English language can be used to formulate poetic thoughts. The book documents the transformations of sequences of interrelated English synonyms into poems. The sounds work ‘Every letter is a sound’

demonstrates how thoughts that have been put in words can be transformed into sequences of non-speech sounds and experienced as musical abstractions, while 12 colorful digital prints from the series ‘Every word is an image’ show how words, phrases, and sentences can be encoded as colorful images. The prints have been created by manually combining thousands of visual motifs. Each motif stands for the letters of a specific word, phrase, or sentence and has been generated by custom software for language representation. 


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