There are artists who aspire for higher forms of synthesis and tend to move beyond the borders of one single area. Unlike scenic arts in which fusion is the product of team efforts in which numerous authors and performers unite, the amalgam of image and text in the works of one single artist is a rare phenomenon. The pair poetry-music is probably the oldest and most frequent manifestation of such synthesis and also the most widespread one, starting with folksongs, passing through the ballads of medieval bards and troubadours and reaching present-day guitar poetry. One example is the well-known Lithuanian painter and composer Konstantinas Čiurlionis (1875-1911) who managed to bridge painting and music, interpreting symphonies and sonatas in form and color etc. (in fact, the symbiosis of different creative activities brings to mind the dawn of human society when they were not differentiated yet).

     In all cases of such interaction a particular phenomenon is manifested regardless of the specific “addends” - synthesis produces a new kind of creative zone in which the energies of the different spheres add up to form synergy.  

     Such synergy is discernable in the works of painter Elitsa Baramova-Baramó as the result of her aspiration to discourse the images, to create both visual and verbal pictures. The compositions of the Architect Project series arouse a feeling of something cosmic. At first glance one may be denied immediate access to the images portrayed, as if they jealously keep their secrets, but gradually the distance is transformed and becomes something unnameable and the viewer is engaged in a dialogue with them, unconsciously sometimes. Baramó dubs the language she uses to visualize her ideas in this series “sediment process”, and the technique is acryl on paper or canvas. The images are like sculptured monumental figures, which the spectator observes through a smoked glass, and behind it he sees not only the figures but also the air which surrounds them. Otherworldly mysteriousness and depth. Prima facie, the paintings with their monochrome color may evoke a feeling of distance, but it is exactly in tune with their cosmic tone, strongly emphasizing it.

     The texts of Baramó are positioned separately from the paintings, being their verbal extension and one of their possible interpretations, and they definitely contribute to the dialogue with the viewer, who becomes simultaneously a reader. The history of art knows many painters, attracted by the possibility to express their ideas in words who have left meaningful texts. Their texts, however, communicate with their art in its entity and not with separate paintings, frescoes etc., even though they are closely related to it. Unlike them, in the case of Baramó every accompanying text goes together with a given painting both in a concrete and abstract way. This is a kind of specific responsibility and commitment of the author.

     In East Asian traditional art, where such synthesis is a habitual practice, the texts share a common space with the image. In Chinese and Japanese paintings this text may be a poem by another author or a wise sentence survived from ancient times, or even a word with significant meaning, and it is always written in a calligraphic style (which, too, is art per se). It happens only rarely that the author of the painting and the text is one and the same person (calligraphy has a high value as artistic and even pictorial work, the text by another author is “assimilated” by the painter who has written it, becoming his own, even though only graphically).