Faces before future students, hands – guardians of the craft, people – inspirers. A column that introduces you to the future teachers of the crafts school, part of Sharena Fabrika.
Petar Kondev has been fortunate to discover his calling early on, and today he works with pleasure and inspiration as a professional woodcarver and restoration expert on various projects, eagerly awaiting the moment he will step through the doors of the artisan school, part of the International School for Gastronomy & Heritage Crafts "Sharena Fabrika."
His experience is inspiring and valuable, his journey is colorful, and he himself is excited to share his knowledge and show the new generations the intricacies of the craft.
We asked Petar Kondev about his time in Italy.
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What was your journey, and how did you choose woodcarving as a craft?
Even during my school years, I showed an interest in art. I participated in and won student drawing competitions. My most unforgettable memory, though, was when I made a small soap figurine, a little bear, which I joyfully gave to our host.
Later, I remember an exhibition by a woodcarver, whose name I can no longer recall, but his works have stayed with me forever in my childhood mind.
A significant moment was my visit to the home of Grandpa Toshko during my first trip to Tryavna. He was a woodcarver, and his house, made of wood with carved friezes and many handcrafted details, made a strong impression on me.
When was your first real encounter with the craft?
My first real encounter with artistic woodwork was at the school of applied arts in Tryavna. Woodcarving was the most sought-after specialization by most of the candidates. I was lucky to be accepted. That’s also when I got my first set of chisels. So, in a way, woodcarving chose me!
What do we know about woodcarving in Bulgaria and its development over the years?
Woodcarving has existed since ancient times, but in the form we know today, it flourished at the end of the 18th century, alongside other crafts and architecture.
In Bulgaria, during the Renaissance period, several artistic schools became renowned for their woodcarving: the Debar Art School, the Bansko Art School, the Samokov Art School, the Tryavna Art School, and the Kalofer Woodcarving School.
Woodcarving found its application in church architecture and interior design, such as iconostases, pulpits, carved church doors, but also in homes and everyday life—carved ceilings, furniture, chests, wooden utensils, walking sticks, distaffs, and yokes. Typical decorative motifs in woodcarving include figurative compositions, interwoven patterns and arabesques, plant motifs such as rosettes, sunflowers, vines, oak leaves, the "tree of life," and animal representations like lion heads, griffins, snakes, eagles, peacocks, and nightingales.
What does this craft look like today?
Today, woodcarving finds its place in modern design and is used in furniture decoration. The ornaments are not as rich, tending to be more stylized and simple, with each artist leaving their own recognizable signature. Many artists who work with woodcarving skillfully create wood sculptures, which can be seen as the natural successor to the need for personal and artistic expression. This marks the transition of woodcarving from a craft to an art form, driven by the artist’s need to express themselves as a creator. No significant changes are observed in canonical church works, where much of the richness of Renaissance woodcarving is preserved.
What are the intricacies of the craft and the stages of shaping a piece of work?
The intricacies of the craft are learned through practice. They cannot be fully replicated. Every moment requires a different approach, depending on the task, inspiration, and the feel of the piece.
I believe that being skillful and hardworking is of utmost importance.
Of course, creating a finished piece or decorative element also requires knowledge in several other areas, starting with drawing using light and shadow on arranged geometric shapes in studies, as well as combinatorics, to build a sense of volume and space, and progressing to clay modeling, stylizing, and designing. Once we have the prepared wooden base, we transfer the design and begin carving with woodcarving chisels.
Are there specific masters who have inspired you in your work?
My first encounter was with my teachers—the people who introduced me to the craft and guided me into the world of art.
You graduated in sculpture from the Brera Academy of Fine Arts in Milan. What are the most valuable lessons you learned there?
Brera was a whole new world for me! There, I studied sculpture under the course of Prof. Vito Bucciarelli. He stood out by working with new expressive means in visual arts, discussing art performance, mass media, land art, and art installations, as well as various definitions of spatial perception. This broadened my understanding of sculpture—not just as matter, form, and color, but also as a concept.
However, as a craftsman, I needed to gain more technical and practical experience. So, I studied casting techniques in metal, ceramics, marble, and stone work, as well as lithography, serigraphy, and photography. In theoretical subjects, I delved into the history of art, cinema, and photography. I realized that the world of art is all-encompassing. I also learned that mastering a material gives you the ability to better express an idea.
You worked as an assistant in Carlo Bernardini's studio. Tell us more about your work there.
Carlo Bernardini was my professor and thesis advisor, with whom I discussed and consulted my ideas for my diploma project. I am grateful for the opportunity to engage with such an artist and person, who impressed me with his expressive means, shared ideas, and conversations, and to have received his approval.
After completing my academic education, I stayed in Italy and participated in several group and solo exhibitions, art projects, and symposiums while working in various jobs. One of these was as an upholsterer in a small family business in a town between Milan and Cremona. It was there that I rediscovered the pleasant feeling that craftsmanship and manual work bring! Not long after, I brought this experience back to my own studio in Bulgaria, where I combine upholstery, restoration, sculpture, woodcarving, painting, and woodworking.
What does the process of recycling wooden furniture look like from start to finish?
For a piece of furniture to be restored, upholstered, or simply updated, it first needs to be worth the effort, as the work is entirely manual and often twice as time-consuming as creating something new. The value for the owner must be significant—whether functional, sentimental, or collectible. A thorough evaluation is needed at the inspection stage, as the processes can be lengthy and time-consuming.
In the restoration of fully wooden furniture, the process begins by disassembling and labeling the parts. Broken pieces are repaired by adding new elements. Everything is sanded to remove the old finish. Next comes reassembly and gluing where needed, followed by sealing with a final finish such as lacquer, oil, or wax paste.
In upholstery practice, the processes are slightly different, starting with the removal of the old fabric. If the integrity of the soft part is compromised, the cause is identified. It could be the foam under the fabric, the base made of boards, or the elastic bands and springs. During the removal process, details, measurements, and thicknesses are marked and recorded. In reverse order, the wooden structure is repaired, glued, and the soft part is shaped from foam. The fabric is cut to size using a template, or the old pieces, which are kept, are used.
How did you feel when you were invited to join the "Sharena Fabrika" project?
With great enthusiasm! In fact, it has always been my dream—a craft school within a community that is just beginning to form, creating new connections and leaving a lasting mark.
What educational practices would you like to apply in your teaching?
What has always impressed me is the teacher’s approach to each individual student. I think creating a friendly atmosphere is very important. Communication and a supportive environment foster freedom and creativity. Conversations with the students and assessing their level of knowledge in the field are also crucial. Once this foundation is laid, the process of building and accumulating knowledge and experience begins.
What advice would you give to young artisans interested in woodcarving and recycling?
If they are already on the path of the craft and truly enjoy it, they should never stop!