Damyan Doumanov

Projects



Books


  • Istanbul Surface Encounters
  • Paperback
  • And Other Views
  • The Waves of Time
  • GOOD NEWS





About + Contact

©2025

Mechanical Morphologies, 2026


Mechanical Morphology №1, 2026,
Acrylic paint on warm-tone cardboard, 70x100 cm
Mechanical Morphology №2, 2026,
Acrylic paint on warm-tone cardboard, 70x100 cm


This body of work investigates the aesthetic latency of technical schematics through large-scale paintings sourced from mechanical repair manuals. By executing micro-photographic extractions of these diagrams—frequently isolating fragments merely a centimeter in width—the imagery is projected and monumentalized onto a substrate of corrugated cardboard. The forms are subsequently rendered in black acrylic via a meticulous stippling technique, deliberately simulating the ink bleed and mechanical degradation inherent to commercial offset printing.

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The Rainbow Hotel, 2025

Silver Gelatin Print,
Ilford FB, 156 x 115 cm


The Rainbow Hotel is a large-format silver gelatin print that captures the side of a weathered building where the word Rainbow once appeared in full. Now only Rain remains in raised letters, while the faded outlines of b, o, and w linger as ghostly shadows on the wall. 

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Garden in Eden, ongoing



I remember sitting in the garden as this idea first began bothering me. It was mid-July and these were the hottest days of the year and in recorded human history. Heat waves made global headlines and I felt both excited and scared. But the idea in mind has relatively nothing to do with that.

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Clouds of Stone, ongoing



This is not how towers are built. Societies have developed an advanced understanding of architecture and engineering, which they use to build habitats. Almost all of these practices are based on the concept of building from the ground up. Tall buildings begin on the ground and reach toward the sky. The towers and castles of Cappadocia are fundamentally different in this regard because they are "built" from the top down. Centuries of constant soil erosion and water from the sky and rivers have carved these towers from the surrounding plateau. The soft, sandy rock allows for further carving of the insides. By removing more material, people have built homes and churches. These spaces have become homes for people.

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Salt: Bosphorus, 2025



Controlled destruction of the photographic base allows the photographs to undergo a metamorphosis caused by the sea water. In this collection the photographs take the Bosphorus strait as subject matter, form and content. It plays a role in each part of them.

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Galata bridge, 2025



The project focuses on the iconic fishermen of the Galata Bridge in Istanbul, reimagining their daily rituals in abstract forms and transforming familiar scenes into ethereal, dreamlike compositions.

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Istanbul Surfaces, 2024



[Detail] 
Collage,  silver gelatin prints, inks
40 x 60 cm


Olympia Flight Test, 2024


[Pages from GOOD NEWS Issue 3]
On a Sunday, August 21st 1966, Ed Ruscha, along with his friends Mason Williams and Patrick Blackwell, found themselves cruising down highway 91 in the Nevada desert. There were two other heroes in this story that have proven to be of great importance - a 1963 Buick Le Sabre and a Royal typewriter - a sturdy symbol of communication and order.

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Salt, 2024


One night camping at the seaside we got robbed. The two cameras I had with me got stolen. A week later the thief was caught and the police had found the cameras. Both of them had died in the sea and their mechanical components had seized. I took out the roll of film from inside the salty Nikon FM and put it through the developer. Surprisingly there were pictures on it. Large parts of the emulsion had been lost due to the seawater which got inside the camera.

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The Waves of Time, 2023



Silver gelatin prints,
Ilford FB, 25 x 20 cm,
Selenium toned