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One of the most general ideas of physics which describes presence,
appearance and the visual aspect of the world is space. Among numerous
definitions of space I was intrigued most by the one which claims that the
space is an abstract, conceptual, logic and mathematical notion which is
used to describe the position of things, the relation between them and the
entity of possible interactions between objects. Only our perception makes
the field of comprehension real. Seeing is what constitutes the space of a
painting and enables her and everything inside her. Consequential to having
her own space, the painting has her own perspective as well. The space
itself is not real, it is formed by people as its parts and it changes
together with them. My interest is focused on the concrete space which
encloses and identifies a work of art and the concrete space that the work
of art clasps and lays in. That means that there is an established identity
between what is shown and the real space, and this identity becomes possible
through installations and ambients.The following question is obvious: How is
the space of a painting being created? What is special about a visual work
of art is what enables us to separate works that are transferred to a new
surrounding from their earlier surrounding, due to the fact that it’ s space
is not an objective concept, it comes to life with the creation of a visual
work of art. It is a space in which spiritual values are being actualized, a
space on the other side of the reality.
A visual work of art represents a discord
from its source, a conflict between the earth and the sky, the horizon
of existence. In that friction the artist is a fellow soldier and a
teammate, he is a mediator. The reality creates a question about the
simple existence, it discovers things that are just in front of us and
are easy to be seen. It only points at the current form of things. On
the other side, art is what enables us to get close to the pure essence
of things. The essence of a visual work of art always portraits its
connection with the wholeness of the world. It is a space-time of all
the things, in which occurs coming to life and dying of every individual
existence.
I am of the opinion that the best way for representing spatial relations
inside a work of art is through installations. An installation has all
the qualities of a group artwork, because it connects different concepts
like space, light, sound and the motion of the observer. In this way the
installation becomes a unity in a plenty. The established unity in the
relations between objects represents harmony. I usually create a
projects as a space- ambient installation, through which I strive to
show multiple layers my work consists of. An installation is not just a
bear assembly of objects but a space-dependent relation of many objects
between which a separate, special space exists. The work itself is
conceived as an ambient presentation whose inner side consists of a
compliance of different separate entities. More precisely, it is divided
into three separate layers/spaces and one inner-space, that consists of
nine canvases on which willsome of the layers and spaces, holding the
observer himself, be projected.
The objective of my research is to
question the logic of the reality of space, and with that point
to the notion about a different reality. By dismantling the
layers of a visual work of art I want to place the attention to
the way it exists in, how do relations inside it function and
highlight the drawing as its essence. Actually, my projects are
very much like a hiding-placeand with the opening of that hiding
place I am opening myself, as well. By presenting thespace
in-between I want to show that the being itself consists of
layers and I see my projects as a strong alliance between
thoughts and drawings, which has a power over reality. The
drawing is created with me being present in it in the moment of
its creation.
Another component of my work, besides the drawing, painting and
light, is sound with which I want to draw the attention to the
power of music to create or destroy. My interest for creating a
sound installation was developed after becoming familiar with
the music of Karlheinz Stockhausen, one of the most important
composers of the twentieth century. The music he wrote was
exceptionally difficult to listen to, from time to time absurdly
pretentious in its endeavours to be greater than what reality
has to offer. While exploring hiswork, I noticed that a music
composition consists of layers and decided to merge the layersof
the sound I have been hearing. Those sounds were not the sounds
of the outer word butthe sounds coming from inside myself. What
I wanted to achieve with all this, besides theintimate opening
of my work, is for the observer to see the real me by using his
senses.
The sound inside my installation represents a synthesis of
silence, boring, irritating sound I hear every time I am about
to doze off to sleep and the sounds that induced me to
createcertain layers of my work. It is arduous, agonizing, the
same as the path I took in order tocreate my work and I
introduced it in order to carry out an experiment. I wanted to
see howthe observers would react, would they be repulsed or
would they be encouraged to approachthe work.
The obsession to behold my work as a whole drove me to the
conclusion that it is only the light that enables us to
comprehend a work of art as a whole. The lightened form
createsthe idea about an outer cover, a cover that guards the
inner truth-the drawing. The threelayers inside the installation
are connected in a logical way, one after another. The workis
defined by the layout of objects, meaningful articulation of the
whole and the totalityof space. The installation will have
features of a group visual work of art, because it willbring
together different phenomena such as space, light, sound and the
motion of theobserver. The established unity in the relation
between objects represents harmony. Also themonumentality of the
installation becomes necessary in order to draw in the observer
and keep him occupied in a world of countless information.
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