Christo Dagorov was born on November 25, 1970, in Sofia, Bulgaria. He moved to Switzerland with his parents and older brother in 1977. Following this, the artist moved into his first studio in 1989, having determined early on that he wanted to be a painter and a graphic artist.
He spent his early years producing hyper-realistic paintings of broken devices using various approaches and accessories like oil, watercolor, acrylic, etc. He usually used only five colors—cadmium yellow, cadmium orange brilliant, cadmium red, cerulean blue, and Paris blue. He also used zinc white exclusively for lightening the cerulean blue in his acrylic painting style, which was a very radical version of pointillism.
Christo’s lips series is his most well-known work, which he brings to life with his mature style, which transforms intricacy into organic growth. He does not consider himself to be a hyperrealist, surrealist, or a member of any other common creative movement; instead, he likes to be conscious.
Using himself as a filter, the artist reflects on both the real and imagined worlds. His is the observer’s gaze, searching for something that will allow him to reconnect with himself – to identify with the other – and to ignite a range of emotions beyond the fundamental ones.
“I examine the mysteries of perception by combining psychology and design of the shape as perceived and depicted,” says Christo. His intuitive pathos tempts the observer with vaporous truths that the artist manages to communicate without the heaviness of worn Freudian Hermeticism.
The artist is a stickler for detail. He has a strong personality and is unafraid of being compared to other artists. His art alternates between anamorphosis and the twofold reflection of the moving image in some of his pieces. Some of his work bears a resemblance to superb 16th-century engraving. In his works, both antique and modern techniques are seen. The analogy is a superb intellectual shadow that masks the intuitive boldness with which he improvises his creative past and present passion.