In my artistic practice are intertwined theoretical research, various digital technologies, interactive performance and installation, cyber lecture, theater practices, street actions, video art and video installation, sculpture, electronics and drawing. I sign this complex artistic activity with the name "SubHuman Theater".

SubHuman Theater manifests itself as a by-product of the social, political, economic and cultural situation. In such a conceptual framework, I explore intermediate states of the human body, focusing on its marginalization. It refers to decoding the language of modern myths and encoding them into new creatures at the intersection of man and technology. SubHuman Theater is a broad platform that brings together many aspects of forgotten humanity. The concept of "subhuman" manifests repressed humanity. It occurs in various forms that can be associated with the term subculture. The outlines of the subculture are usually considered ugly, monstrous, deviant, pathological, marginal, subversive. Technocracy, technoculture, techno-aesthetics and the general technological manifestation with which we constantly communicate, is a special kind of aesthetics of the monstrous. It fascinates and repulses, seduces and frightens, legitimizes and destabilizes.

In my works I place special emphasis on the human body as a means of expression. In most cases, I use my own body as material for experiments, mutations, and transformations, as a ritualized personal experience. Characteristic of the role of my own physics in the presented projects is its "incorporation" in various facilities, the incorporation of the human body into a certain structure, putting the body to the test, in the audacity of physical effort.

SubHuman Theater is an informal, pseudo-theatrical structure whose essence is a combination of social reflection and empathy. Context for the construction of modern mythology as a collection of current and epoch-making, myth and logos, fairytale and critical.

I believe that the artist must build his own mythology in accordance with the environment and the time in which he lives.

Venelin Shurelov, 2018