Gold Minimum
Gold Minimum - Schmincke oils on canvas. Size: 80 x 100 cm, Anton Terziev, 2020 Photo: © the artist. Courtesy of the artist. Featured in
Foto material used: Aly Raisman's Getty photography image. Aly is retired American artistic gymnast and two-time Olympian. In November 2017, Raisman came forward as one of the many victims sexually abused by the former Olympic team physician, Larry Nassar, starting from the age of 15
From No Time for Losers / С губещите не се занимаваме seria (2019-) Title credit: Svetoslav Todorov - journalist, editor and writer
Last shown at Success and Succession solo exhibition ot Balabanov's house, Plovdiv, Bulgaria, 2020
In the series No Time for Losers I examine just that – what it takes from you, what and whom you pay, who constructs the content of success as a symbol and metaphor, what is its shelf life? I do it through the well-known moment of triumph, mandatory for sport photographers. A freeze-frame, in which I comment on the role interrelations between the award, the awardee and the award presenter.
I hit the brakes on the rat race for quick, immediate, instagrammable success. This concept is like a tomb. A remarkable pantheon, which you furnish meticulously with awards, trophies in your CV and what not, to the last day of your life.
Whoever wants to be a „relevant participant in the processes“ knows that things like vulnerability, exposedness and sensitivity smell of failure, they don’t make you competitive on the market. Like in sports, whose direct aesthetics I borrow for my series.
From an early age, you have to run in the right lane or track. Lest you compete on top level but outside of the field, or even worse – out of the range of the cameras reporting the game from the pitch.
Gold Minimum - detail. Photo: © the artist
Anton Terziev’s “Gold Minimum,” part of his *No Time for Losers* series, captures a moment of radiant victory while hinting at the deeper complexities that underscore the subject’s real-life experiences. Depicting the retired American artistic gymnast and two-time Olympian Aly Raisman biting her gold medal, the painting fuses the iconic imagery of athletic triumph with a nuanced exploration of personal strength in the face of adversity.
Terziev’s oil-on-canvas technique emphasizes textured brushstrokes, particularly visible in the luminous reds and oranges that dominate the subject’s face and hair. These vibrant hues suggest both the heat of competition and the intensity of personal resolve. The painter’s expressive application of color lends a dynamic, almost pulsating quality to the medal, simultaneously spotlighting its significance as an emblem of success. By allowing thick, impasto layers to remain visible, Terziev underscores the tactile, material reality of both the medal and the athlete—reminding viewers that behind every polished public image lies a human being with a lived story.
The act of an athlete biting a medal is a time-honored photograph trope, signifying the pinnacle of achievement. Here, Terziev transforms that familiar gesture into a focal point that carries added weight given Aly Raisman’s personal history. The title, **“Gold Minimum,”** suggests that while victory is celebrated, it may also feel like the bare minimum in a larger battle for recognition and justice. The bright coloration of her face—where flesh tones meld with vivid red—evokes both the exhilaration of winning and an undercurrent of emotional intensity, hinting that her story extends well beyond the athletic arena.
Raisman’s achievements as an Olympian are well documented, but in November 2017, she also became one of the most prominent voices among the many victims of sexual abuse perpetrated by former Olympic team physician Larry Nassar. Terziev’s painting juxtaposes the public triumph of gold medals with the private struggles that often remain hidden behind an athlete’s polished facade. The joyous moment of biting into a medal thus acquires a dual reading: on one hand, it is a universal sign of victory; on the other, it resonates as a symbol of resilience in overcoming trauma.
This tension—between the glamour of competitive success and the painful truths of exploitation—reflects the artist’s broader thematic interest in exposing what lies beneath the surface of cultural icons. The painting’s bright, almost celebratory palette belies a deeper undercurrent of reflection, urging viewers to question the costs of high-level sports success and the emotional toll on athletes.
While the subject and palette are unmistakably contemporary, the painting’s underlying Memento Mori echoes—reminding us of life’s fragility—are subtly woven into the series’ title, *No Time for Losers.* In the lineage of portraiture that balances public image with private reality, Terziev aligns himself with artists who have used vivid color and emotive brushwork to illuminate the emotional complexities of their sitters. The bright reds recall modernists like Ernst Ludwig Kirchner or the Fauves, who employed expressive colors to lay bare psychological depths.
Yet, Terziev’s incorporation of a culturally ubiquitous sports ritual (biting the medal) grounds the work firmly in the 21st century, where images of success and downfall rapidly circulate in digital media. By translating this fleeting photographic instant into the permanence of oil paint, the artist ensures that this moment of both triumph and reflection endures beyond its typical news cycle lifespan.
In “Gold Minimum,” Anton Terziev invites us to contemplate the paradoxes of public victory and private pain. Through vivid color, impasto technique, and the symbolic resonance of the gold medal, the painting transcends mere sports iconography to become a powerful statement on resilience and identity. As part of his *No Time for Losers* series, this portrait speaks not just to Aly Raisman’s legacy as a decorated Olympian, but also to her courage in revealing personal trauma—ultimately reminding us that behind every shining accolade lies a complex human story worthy of empathy and understanding.