“I am searching for spaces or things that lost our attention, that might seem to be banal, boring, or disintegrating as a place, and I put my focus of attention on them through the work.” - the artist
Since presence in physical space is what helps me to express myself the easiest, I expect people will also interact through their bodies, moving and relating with the created space.
The main idea of my body of work is related to my Buddhist practice. It is the first noble truth from the Buddhist philosophy: There is suffering. The main instrument for grasping it is the reflection and insight into impermanence. That is, we suffer as a consequence of our resistance to change, because we want the world to remain as it is, and it does not - for good or for bad. Does it mean we are fragile or too powerful in front of it?
I am searching for spaces or things that lost our attention, that might seem to be banal, boring, or disintegrating as a place, and I put my focus of attention on them through the work. The work is usually a site –specific work or an intervention in space.
I am usually underlining disintegrating elements, coloring or adding precious details that create focus on the vital potential of the place. For me to do the work is struggling to live into a breathing space, while letting go of both the loses of the past as well as of the achievements of the past, and striving to gain more insight while accepting things as they come and go through our lives.
The main idea of the changing nature of things is one we can easily grasp intellectually - for some might sound even as a truism - yet our emotional experience rarely integrates this truth. This is the reason I intend to raise attention not only to the idea of an impermanent reality but also to the suffering brought by change. Nevertheless, the work aims to be a proposal of contemplating the precious nature of all of our moments as long as we are alive, being a possible open door towards our joy of living.
It is also due to the interdependence of things that intervention into a vulnerable or painful point of place is a sort of urban acupuncture – that radiates ripples around it, integrating change processes into the work. The viewer of the work should be inspired to be present in space.
" Impermanence means change moment by moment."
( Geshe Tashi Tsering, 2008, 26)
The image is connected with the text: the digital image created without the use of a camera, taking the form of printed photograms together with embroidered texts. Which one has the stronger visual burden? The project is balancing between "nothing special' and "a peculiar tiny drop ".
Some people need a mountain to be happy, while others just a stone; some need the whole sea, where others just a spoon full of water. The self-censorship but also the question 'maybe this.... is enough for me ? 'is the core and kernel of this work. It starts from a spoon of pepper, a handful of popcorn, a strand of hair , some beads of semi -precious stones and a couple of spoons of wheat milk . It has an autobiographic charge, but it is not in the direction of making use of one or another personal story, yet in the sense of asking a question towards another human being, towards the viewer.
The particular matter is associated with a certain negative emotion: irritation, anger, regret, self- grasping, but also compassion as a returning towards the self. It is maybe one way of saying that you can survive even with negative emotions as long as you can transform them in compassion turned at least towards yourself.
Scanning matter made necessary the full, focused attention, one which I imagined as a reiteration of Fox Talbot's gestures while he was preparing his first photogenic drawings, included in The Pencil of Nature. Also it implies the practice of mindfulness, which, even if not seen in the outcome, it has been required for the process to take place.
I was not interested in the formal aspects the images will take, but I considered the form or, better said their formlessness as a consequence of the process.
Just the decisions of presenting them large as a landscape format ( 90x90cm prints) has been seen in a dialogue of the old tradition of Pictorialism, particularly Anne Brigman. This decision opened it up towards embroidery as a minor art, where the process of the craft, the details, are absolutely necessary for creating a work. It aims towards a change of attitude, a change of priorities.
As a consequence the inclusion of the embroidered text that seem to have a personal value derived from the images - though sometimes refer to personal experience, sometimes just to imagined one- is seen as a reclaiming of balance between self and other.
It is not asking a rhetorical question, but an attempt of a dialogue based on intuition and understanding between myself and the reality of which the self is part and parcel, a reality it also constructs.
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