As part of the renovation and revitalization of the historic Church of the Nativity of the Blessed Virgin Mary in Belene, a comprehensive transformation was carried out, uniting sacred art and architecture to deepen both the spiritual presence and visual identity of the space. As the episcopal shrine of Blessed Bishop Eugene Bosilkov, the church bears profound spiritual and historical significance. The project included the restoration of the exterior and interior, as well as the creation of a series of stained glass windows that elevate the liturgical atmosphere and reinforce the church’s role as a place of prayer and pilgrimage.

The interior of the church has been reimagined while preserving key structural and liturgical elements of the original design. Throughout the space, significant Bulgarian symbols are integrated, reflecting national identity and spiritual heritage, and connecting the sacred architecture with the cultural roots of the local Catholic community.

The stained glass plays a central role in shaping the atmosphere of the space, casting colored light into the sanctuary and reflecting themes of grace and martyrdom. The windows depict Christian martyrs from around the world, honoring their sacrifice and bearing witness to a global communion of faith. This universal dimension deepens the spiritual narrative of the church, inviting contemplation and connection across cultures and centuries.

The marble fronton design echoes the original façade element from 1860, faithfully preserving its historic form. This thoughtful continuity bridges past and present, reinforcing the church’s architectural identity and honoring its enduring spiritual legacy.

Design and participation as part of the team responsible for the creation of the stained glass, the fronton and interior decoration of the church.

The restoration of the Church of the Nativity of the Blessed Virgin Mary in Belene incorporates Bulgarian symbolism, historical continuity, and stained-glass windows depicting Christian martyrs from around the world, transforming the church into a space rooted in spiritual heritage and open to universal communion.

Манастирът на сестрите евхаристинки служи като генералство на византийско-католическата конгрегация в България. След възстановяването на собствеността им през 90-те години на миналия век, общността построи нов манастирски комплекс между 1998 и 2005 г. Той включва жилищно крило, Социално-медицински център „Св. Йоан Павел II“ и църквата „Св. Йоан XXIII“. Църквата е посветена на папа Йоан XXIII, който по времето, когато е бил апостолически нунций в България, е оказал жизненоважна подкрепа на общността през първите години от нейното съществуване.

Централният купол на църквата с диаметър 7,5 метра е както визуален, така и духовен фокус на пространството. На върха му е изобразен Христос, седящ на трон сред облаците, излъчващ божествена величественост и светлина.

Под Него са четиримата евангелисти, всеки от които е изобразен с традиционните си символи. Заедно те представляват четирите различни гласа на Евангелието и придават пълнота на разказа за земния живот на Христос. На фона на безкрайното небе, техните образи визуално разширяват небесното пространство, предизвиквайки усещане за божествена безкрайност. Това небе не само отваря перспективата към вечността, но и задълбочава впечатлението за небесна слава.

По-надолу, в преходното пространство между небето и земята, стоят четирима апостоли, изобразени в пълен ръст. Те олицетворяват връзката между божественото откровение и човешкия отговор – вярна приемане и живот, посветен на служенето.

Дизайн и участие като част от екипа, отговорен за боядисването на купола и фреските.

The Monastery of the Eucharistine Sisters serves as the generalate of the Byzantine-Catholic congregation in Bulgaria. Following the restitution of their property in the 1990s, the community built a new monastic complex between 1998 and 2005. It includes a residential wing, the St. John Paul II Social and Medical Center, and the Church of St. John XXIII. The church is dedicated to Pope John XXIII, who, during his time as Apostolic Nuncio to Bulgaria, offered vital support to the community during its formative years.

The central dome of the church, with a diameter of 7.5 meters, is both the visual and spiritual focal point of the space. At its apex, Christ is depicted seated on a throne among the clouds, radiating divine majesty and light.

Beneath Him are the four Evangelists, each shown with their traditional symbols. Together, they represent the four distinct voices of the Gospel and bring fullness to the narrative of Christ’s earthly life. Set against an uninterrupted sky, their images visually extend the heavenly space, evoking a sense of divine infinity. This sky not only opens the perspective toward eternity, but also deepens the impression of celestial glory.

Lower down, in the transitional space between heaven and earth, stand four Apostles depicted full-length. They embody the link between divine revelation and human response—faithful acceptance and a life dedicated to service.

Design and participation as part of the team responsible for the painting of the dome and the frescoes.

Il monastero delle Suore Eucaristine funge da casa generalizia della congregazione cattolica bizantina in Bulgaria. Dopo la restituzione delle loro proprietà negli anni '90, la comunità ha costruito un nuovo complesso monastico tra il 1998 e il 2005. Esso comprende un'ala residenziale, il Centro sociale e medico San Giovanni Paolo II e la Chiesa di San Giovanni XXIII. La chiesa è dedicata a Papa Giovanni XXIII che, durante il suo mandato di Nunzio Apostolico in Bulgaria, offrì un sostegno fondamentale alla comunità nei suoi primi anni di vita.

La cupola centrale della chiesa, con un diametro di 7,5 metri, è il punto focale sia visivo che spirituale dello spazio. Al suo apice è raffigurato Cristo seduto su un trono tra le nuvole, che irradia maestà e luce divine.

Sotto di lui ci sono i quattro evangelisti, ciascuno raffigurato con i propri simboli tradizionali. Insieme, rappresentano le quattro voci distinte del Vangelo e completano la narrazione della vita terrena di Cristo. Sullo sfondo di un cielo ininterrotto, le loro immagini estendono visivamente lo spazio celeste, evocando un senso di infinito divino. Questo cielo non solo apre la prospettiva verso l'eternità, ma approfondisce anche l'impressione della gloria celeste.

Più in basso, nello spazio di transizione tra cielo e terra, si trovano quattro apostoli raffigurati a figura intera. Essi incarnano il legame tra la rivelazione divina e la risposta umana: l'accettazione fedele e una vita dedicata al servizio.

Progettazione e partecipazione come membro del team responsabile della pittura della cupola e degli affreschi.

Манастирът на сестрите евхаристини включва църквата „Св. Йоан XXIII“, чийто 7,5-метров купол е украсен с изображение на Христос на трона, заобиколен от евангелистите и апостолите в видение на небесна слава.

The Monastery of the Eucharistine Sisters includes the Church of St. John XXIII, whose 7.5-meter dome features Christ enthroned, surrounded by Evangelists and Apostles in a vision of heavenly glory.

Il monastero delle Suore Eucaristine comprende la Chiesa di San Giovanni XXIII, la cui cupola alta 7,5 metri raffigura Cristo in trono, circondato dagli Evangelisti e dagli Apostoli in una visione di gloria celeste.

The stained glass windows in the Divine Mercy Chapel in Belene are a defining visual and spiritual feature of this small but sacred space. Created to reflect the message of Divine Mercy, the windows turn natural light into radiant color, enveloping the chapel in an atmosphere of prayer and quiet reflection.

A central element is the stained glass image of Blessed Bishop Eugene Bosilkov, who was born in Belene and later martyred for his faith under the communist regime in 1952. His depiction honors his spiritual legacy and establishes a profound connection between the chapel and the town’s own history of Catholic witness and sacrifice.

The stained glass composition combines traditional Catholic imagery and symbols, using light and form to express themes of compassion, redemption, and unity. Situated near the banks of the Danube River and inaugurated on the Feast of Divine Mercy, the chapel welcomes believers of all Christian traditions. The windows enrich both the beauty and spiritual depth of this space of shared devotion.

Designed and executed in collaboration as part of the team responsible for the stained glass and interior decoration of the chapel.

The stained glass in the Divine Mercy Chapel in Belene transforms light into color and symbolism, creating a sacred atmosphere for prayer, reflection, and unity near the Danube River.

Founded in 1935, the Carmelite Monastery “Holy Spirit” in Sofia is the first Eastern-rite Carmelite monastery in the world. After the political changes of 1989 and decades spent in hiding within the Church of St. Francis, the nuns were finally able to return to their own land. At the heart of the monastery stands the Eastern-rite Church of the Holy Spirit – a symbol of perseverance, faith, and the hope for Christian unity.

In the sanctuary of the church, there is an intricately carved wooden iconostasis, designed as a delicate interweaving of vine branches and leaves, evoking Christ as the true vine and source of life. At its center are four principal icons: Christ, the Virgin Mary, Archangel Michael, and Saint Stephen.

In the upper section of the iconostasis, arranged in a circular composition, are twelve scenes from the life of Christ – from His Nativity to the Ascension. Above them are the twelve Apostles, forming a symbolic “heavenly crown” over Christ’s earthly life, representing the continuation of His mission through the Church. At the very top, in the center, is the icon of the Last Supper – a reminder of the institution of the Eucharist, the sacrament that remains at the heart of Christian life to this day.

In the dome, God the Father with the Child Jesus and a dove above them symbolizing the Holy Spirit.

Founded in 1935, the Carmelite Monastery “Holy Spirit” in Sofia is the first Eastern-rite Carmelite monastery in the world. The church impresses with its richly decorated dome and iconostasis featuring icons of Christ, the Virgin Mary, saints, and scenes from the life of Christ.

The sacred art in the Catholic Church “Christ the Savior – Ascension of the Lord” in Vidin forms a harmonious ensemble of stained glass, mosaics, and sculptures. These elements were created to accompany the renewal of the parish, which reopened in 2016 after decades of dormancy, and restore a sense of beauty, dignity, and spiritual continuity within the local Catholic community.

The stained glass windows convey rich theological symbolism, depicting the Virgin Mary, the Divine Mercy, saints, and a large cross at the center of the altar. Through light and color, they create an atmosphere of reverence and invite the soul to contemplation.

At the church entrance, a striking bronze door displays images of Bulgarian Catholic martyrs and Angelo Roncalli (later Pope John XXIII), who once served as Apostolic Nuncio to Bulgaria. The door stands as a sign of remembrance and honor—for a faith that endured persecution, and for the deep ties between the local community and the history of the Church.

Above the entrance, a monumental composition rises: a mosaic of God the Father, a bronze statue of the Crucified Christ, and the Holy Spirit, represented as a dove. This Trinitarian image welcomes the faithful with a powerful symbol of divine unity, sacrifice, and redemption.

Design and participation as part of the team responsible for the creation of the stained glass, mosaics, sculptures, and interior decoration of the church.

The church Christ the Savior – Ascension of the Lord in Vidin features a powerful ensemble of sacred art, including stained glass, mosaics, and a bronze entrance door, each element rich in symbolism and spiritual presence.