Emerging artists from Central and Eastern Europe advocate a soft focus. The most fascinating and fascinating works of the region are developed by independent artists working outside these institutions.
Josifov’s work does more than transgress borders and disrupt categories. As the new generation of independent artists working in this region and outside state-funded institutions, Josifov’s conceptual approach blurs the boundaries between the art of performance, theater and the visual arts. Igor Josifov addresses issues of identity.
After years of experience on all media, he decided that the most important support was his body .The liberation of the body in his work has a metaphorical significance for the freedom of people in the contemporary world.

Always reflective and theatrical, the performances of Igor Josifov raise our critical awareness of the alienation of the Balkans, while capturing the incomprehensible side and the irrational elements of cultural regeneration.
His performance of 2012. 2Dimensional, is a work of social commentary where the public does or completes the performance. In this installation, he removes part of the ground and places a Plexiglas instead of the ground. Lying under the glass, the public comes and must walk on him. Their reactions do the work. It’s an experience where reactions are usually self-projections of the audience, and they become really out of control. 2-Dimensional concerns the relationship between the artist and the viewer.
In each performance, Igor Josifov wants to achieve the effect of sculpture with his body and with the mental state to establish an dialogue with the people who have to face him.

With his sculptures of glass faces, Igor Josifov offers the viewer a curious experience, an impressive aesthetic success. He highlights the mystery, the force of suggestion, the singular beauty of a human face. They are also deformed faces, recreated, reinvented by the spirit and the hand of the artist. Here, each head touches us, looks at us, disarms us. Josifov’s universe is ours, but crossed by flashes that pierce the everyday flatness of existence. Nothing less violent or heavily expressionist. The energy at work in his sculptures is all the more marked because, they are souls that he sculpts.

Josifov accomplishes the very act of transformation and liberation of the captive human mind and soul. In Taming Fire, Igor Josifov takes up the challenge and proceeds by making portraits of fire characters.
The photographs are therefore somehow contemporary icons. This project is a visual representation. Part of the enthusiasm of his work lies in the fact that Josifov can not predict the appearance of portraits. They are blurred. Fire is his companion as he has been since the beginning of human history. He is a source of energy. It is an emblem dotting our imagination and arousing various feelings. A magical creative gesture, Igor Josifov uses fire as a marking tool. The process is a performance. Igor creates works on curling paper with the legends of creation and destruction. The work of Igor Josifov is a source of fascination.