Questioning my self what is a habitat, my answer is quite vague. The body of work I produce, acts as an element of self exploration, confession, more like a visual journal to remind myself of things forgotten, of things that are bound to stay alive.
The attachment of people with animate or inanimate objects / environments is even hard to express in words sometimes. So how does one express a bond with a habitat.
When does one realises a bond with his surroundings.
Nicosia, 2009 -
There is an empty deserted piece of land, where my home of twenty years was situated. Last time I remember I was there, in this construction, living, experiencing, being in the confines of that space.
All that is there is a huge pile of bricks, dust, metal rods, a huge piece of a dismantled wall which somehow seems solid. A ten meter long metal pile, which once was the fence of the house, all tangled up, defying its strength. The metal looks so effortlessly flexible, defying its strong nature. Nothing unual- a common sight of one visiting a demolition site.
Making my way through the site, I see a broken plastic which somewhat reminds me of the lamp I had in my room. The room I left 2 years ago when I moved away.
Those ruins were not a common sight for me. There were all that was left of my home, my habitat.
From that point a journey began. A journey of exploring all the visual, aesthetic, conceptual experiences I had when visiting the demolishion site. A journey of mainting the memories of a habitat, once it is gone.
Exploring these ideas physically, visually, my aim was to achieve catharsis through the work I produce, passing on my memories and inviting the viewers to identify their own experience through the work.
The expression of my experiences took a form of appropriating the memories through the medium of the material, investigating the materiality of objects and found materials.
The work took the form of examining the nature of objects, recycled from their deserted origins, with which to form a language appropriate to speak about recycled experiences. Stripping the objects' original function they became tools which gave them new identities and purpose of existance.
Through creating a body of work tangling between the main principles of art, I managed to create environments in different scales and compositions. A constant dialogue between painting, sculpture, installation and photography was enhancing the versitility of the work. This dialogue blurred the boundaries of these principles, re enstating this to the perception of the viewer.
As the work developed, its nature evolved, from vibrant entagled three dimentional drawing to minimal installation/sculpture. The selection of materials and the amount of control I induce in the process changed gradually; from working with an intuitive manner to carefully balancing control and chance in my current work.
The following images will demonstrate photographic documentation of my journey accompanied with writing which demonstrates the development of ideas and my practise.
The attachment of people with animate or inanimate objects / environments is even hard to express in words sometimes. So how does one express a bond with a habitat.
When does one realises a bond with his surroundings.
Nicosia, 2009 -
There is an empty deserted piece of land, where my home of twenty years was situated. Last time I remember I was there, in this construction, living, experiencing, being in the confines of that space.
All that is there is a huge pile of bricks, dust, metal rods, a huge piece of a dismantled wall which somehow seems solid. A ten meter long metal pile, which once was the fence of the house, all tangled up, defying its strength. The metal looks so effortlessly flexible, defying its strong nature. Nothing unual- a common sight of one visiting a demolition site.
Making my way through the site, I see a broken plastic which somewhat reminds me of the lamp I had in my room. The room I left 2 years ago when I moved away.
Those ruins were not a common sight for me. There were all that was left of my home, my habitat.
From that point a journey began. A journey of exploring all the visual, aesthetic, conceptual experiences I had when visiting the demolishion site. A journey of mainting the memories of a habitat, once it is gone.
Exploring these ideas physically, visually, my aim was to achieve catharsis through the work I produce, passing on my memories and inviting the viewers to identify their own experience through the work.
The expression of my experiences took a form of appropriating the memories through the medium of the material, investigating the materiality of objects and found materials.
The work took the form of examining the nature of objects, recycled from their deserted origins, with which to form a language appropriate to speak about recycled experiences. Stripping the objects' original function they became tools which gave them new identities and purpose of existance.
Through creating a body of work tangling between the main principles of art, I managed to create environments in different scales and compositions. A constant dialogue between painting, sculpture, installation and photography was enhancing the versitility of the work. This dialogue blurred the boundaries of these principles, re enstating this to the perception of the viewer.
As the work developed, its nature evolved, from vibrant entagled three dimentional drawing to minimal installation/sculpture. The selection of materials and the amount of control I induce in the process changed gradually; from working with an intuitive manner to carefully balancing control and chance in my current work.
The following images will demonstrate photographic documentation of my journey accompanied with writing which demonstrates the development of ideas and my practise.
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