In the words of the artist:
The series of events unfolding in the aftermath of the coup d’état on 9 September 1944 cause the murder of thousands of people who were neither brought before court nor received any sentence. Another huge number of victims were judged by the so-called ‘People’s Court’. There were even people who opposed the new regime and consequently were detained in a labour camp where they had to change their minds. The official narrative was that these camps were meant for criminals, prostitutes and hooligans: yet, those older than me have explained to me that people would know about the wider purpose of these places. From a contemporary perspective this perception of the regime is blurred when it comes to young people like me and there is a widespread understanding that everything was better arranged and people would go more often to the seaside during that past. I am of the utter confidence that this misconception has nothing to do with the absurd name ‘Sunny Beach’ given to a labour camp after the name of a famous seaside resort in Bulgaria.
The ascetic figures of Martin Trifonoff in their plastic forms speak stories which no man can imagine about the working day of the inmates working on a quarry which began at four or five in the morning – whatever the season is. The day only ended when its target output was met. For each man, this meant carrying eight to 20 cubic metres of stone.