Ralitza Vladimirova’s Entering uses the renaissance notion of a picture as a window to marvelously spooky effect. The canvas is tall and slender - like a doorway. The affixed photo (which is a doorway) emerges from its eroded surface like a vexing rabbit hole. Like good film noir, the image is heavily veiled in shadow, with one provocative light beckoning at the end of a corridor. The coppery surface surrounding the image seems crusted with the patina of age and neglect.
In Entering, we are braced at the threshold of a buried memory - anxious to discover what lurks at the end of the hall.
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