Viktor Dimitrov Marinopolsky | KABK, The Hague
For an overview of available works please click the link below
AVAILABLE WORK BY VIKTOR DIMITROV MARINOPOLSKYFor Best of Graduates 2026, Viktor Dimitrov Marinopolsky (Royal Academy of Art, The Hague) presents If You Look for Me, Look Between the Lines, a project that explores different ways of looking at oneself, in a game of recognition, invisibility, and all the ambivalence that comes with the desire and fear of being known. In a loop of fantasies, memories and daydreams, Marinopolsky attempts to locate himself indirectly, as most truth is hidden between the lines, through fiction, memory, and language. Through imagining himself from aside, through other people’s eyes and his own, he is hiding, wanting to be looked for.
In the At the Table series he presents fourteen portraits drawn from memory with a ballpoint pen on paper. All the people depicted are real people from Viktor’s life that he has had a one-on-one drink with, imagining a fictional version of himself ‘through their eyes’. Supposedly sitting on the other side of each table, the series makes up one big self-portrait of the artist. The empty spaces indicate discomfort: having to imagine how the person looks, moves, talks, in order to draw them, the artist spends days with the subject in his head. The more that is left out, the less time the drawing takes and the less is of importance to remember. The first drawing, Agustin, travelled to Paris and back through the post, unable to find its receiver, when it came back, it was taken as a sign to start the series.
Yan (Table 7), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Meabh (Table 11), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Bo (Table 12), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Ale (Table 8), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Soni (Table 13), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Orietta (Table 5), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Lyas (Table 4),, 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
Agustin (Table 1), 2026 | Ballpoint pen on paper | 24,5 x 17 cm
Viktor Dimitrov Marinopolsky
The other works explore two extremes, the self that hides and the self that has been found. In the Shower displays an intimate moment of spiritual elevation: taking a few centre points to which all the lines connect, the drawing process mimics sources of light, and a half-figure (dis)appears, naked, vulnerable. In the Mirror is a self-portrait on aluminium, where Marinopolsky is confronted with his own reflection together with the reflection of the viewer standing before it, the polished and unpolished passages allowing fragments to be seen clearly, but never the full information at once.
In the Shower, 2026 | Ballpoint pen on paper | 140 x 29,5 cm
Viktor Dimitrov Marinopolsky
In the Hallway is a diptych of paper and aluminium: a drawing of an eye looking through a hole hangs across from a metal etching of the surface of a door with its peephole. The door is not an exit, nor an entrance, it is solely there to indicate a hallway, a space where one can only pass, but never enter or leave, leaving us wondering who is looking and who is looked at, whether the figure is appearing or dissolving.
In the Hallway (diptych), 2026 | Ballpoint pen on paper | 134 x 58 cm
Viktor Dimitrov Marinopolsky
About the Artist
Viktor Dimitrov Marinopolsky (b. 2000, Blagoevgrad, Bulgaria) is a visual artist based in The Hague. Drawing exclusively with ballpoint pen, working with aluminium and language, his work is always a love letter that sometimes contains more love than lack, but always contains more pain than love. Growing up closeted in Sofia, Bulgaria, he chose paper as his semi-safe place of confession; in case the confessional was ever found, a need arose to fictionalise his memories and desires in order to encrypt them.
His drawing practice is slow and obsessive, mimicking the absolute detachment from time central to his identity. With the use of empty space, Viktor is hiding, wanting to be looked for. Motivated by a desire to let go and move forward, and an invitation to stay with what he fears to forget in attempts to immortalise it, his drawings are both a remedy and a symptom of a sick heart. He graduated in Fine Arts from the Royal Academy of Art, The Hague, in 2026.
