Exhibiting for the first time in Bulgarian National Art Gallery in 1960 with her earliest paintings, Olga Belopitova revealed her chosen range: still life, landscape, and portraiture. The choice of these more intimate genres is not accidental as she uses these states of nature to reveal her view of the world, or rather the need to escape from it. Even in her earliest works through the generalized shapes with no details, and deserted urban landscapes, where the human figure appears only as a silhouette, she creates a sense of timelessness and a sculptural equivalent of silence.
Olga Belopitova certainly has an affinity towards self-portraits and representing the people closest to her. She works with bigger strokes; the background is clean, lacking almost any details. Thus, she captures the distinctive silhouette and successfully depicts the subject psychologically and emotionally.
Studying under Boyan Petrov and later Kiril Tsonev, influenced by her long-lasting friendship with Boris Angelushev, Olga Belopitova shaped her presence in the world of art with delicacy and unobtrusiveness. Charming and charismatic, she is well known in the art society enjoying strong camaraderie with many Bulgarian intellectuals of the period.
Her Landscapes with elements of melancholy are somewhat suggestive of certain states that poeticize the environment. Her infinite fields of low horizons, seascapes – visions, silhouettes of lonely and entwined three branches – all bring certain remoteness and rarely achieved contemplation.
Under the low horizon, in pasty paintings and dense tones with lead nuances, a certain sense of timelessness will appear to create an embossed equivalent of silence. Fond of nature, but not the trivial urban or landscape environment, Olga Belopitova minimises the storytelling and remaining loyal to his inner senses; she builds up towards her own figurative system, own expressions, positioning her landscapes on the very border between reality and fiction.
This state of mind, as we construct it for ourselves to escape the daily buzz and routine, is highly recognisable in the Urban Landscapes of Olga Belopitova. They are free from human presence in the city and lack details as hills and mountains in the open, remaining true to the best of art forms.
In fact, her urban landscapes with elements of melancholy are rather suggestive of certain states that poetize the urban and natural environment.
Olga Belipitova’s plastic expression has a developed element of contemplation, a tendency towards chromatism, elements of metaphysics and a sense of timelessness. The austerity of style, deep colour and brightness of melancholy surrounds all pictures.
‘This is the world of a sensitive delicate woman, who modulates the tones and chromatic plans of e certain reality created by the artist in a purely retrospective sense and in the greatest detail.’
Giuseppe Scatti Paralli, Grosetto, January 27, 1989)