Mira Nedyalkova replaced fine art with photography in 2007. Soon after, she began appearing with projects in world-renowned magazines such as Vogue, Coco, Dark Beauty, Kaltblut, Kock, Redox and more. Although she lives and works in Bulgaria, this does not prevent her photographs from being noticed and highlighted among the endless array of shots. Her favorite artists include Jan Saudek and Egon Schiele. Their influence is noticeable, but it does not deprive Mira Nedyalkova of identity and originality.
Her photographs are influential because they are expressive, associative, dreamy, erotic, spectacular. The totality of all these elements does not imply the clarity of the image. At the same time, the attention to detail at Nedialkova determines the depth of her works, which provoke imagination and thoughts, transcend the limit of the visible.
The concept of the photos is also remarkable. That's why they look so much like paintings. They do not lack the idea of portraits, but as portraits they show us the feminine inner world, the feminine origin and its reflections, rather than the external appearance. The woman who stood in front of the lens, it was originally Mira Nedyalkova herself, engaging us in a hidden, subjective world, a world of feelings, a world of immediacy. This emotional nudity is presented in the form of a play between image and feeling. Thus the boundary between man and environment is blurred or taken away to leave only the excitement or pain, fear or dream.
Water, one of the main elements in photographs, serves as a space in which the captured emotion manifests and preserves, during which time stops and leaves us to swim towards the full experience of that emotion. Each fragment in the frame, in its given position, pushes us to empathy, empathy and reinvention.
These are works of contrast, of magic, of openness. They tell about the shared and unallocated through carefully selected colors and shades, through the body language, through the mastered relationship between light and shade.