Project TO BE EXHIBITED
The SEA is a work in progress. Different geographical points and a number of temporal encounters inspire the creation of a series of various works. The Aegean Sea, The Adriattic Sea, the North Sea. The sea in winter or in summer, sun-drenched or frozen, in daytime or at night.
The sea is a feminine place and by looking at her we identify something of our selves. Within water there can be no crack. We can exist through accepting perpetual change and transformation.
I am interested in such concepts as intuition, pause, the somatic quality of an experience, as well as the renegotiation of humans with the experience of time and wear.
The works deal with Desire, Loss and Clarity that can generate a disposition of gratitude toward life.
I believe that all too often contemporary pieces of art are perceived as being autonomous from their environment. I am opting to install my work in spaces that would form a reciprocal dynamic with it. I am interested in reconnecting the artwork to the space in order to create a place.
Technique and Time
The mosaics, although large in scale, are made in the opus vermiculatum technique, meaning with very small tesserae. This technique demands slowness which rewards one with the expansion and experience of time. The creation, as well as the appreciation of a mosaic require patience, persistence and a sincere encounter with the “self “.
LOSS AND ACCEPTANCE
The work proposes an encounter with the sea within the luminous transparency of the night. It is a large, wall mounted mosaic, dimensions 2.50m x 2.50m made of very small black marble and copper tesserae. It is accompanied by a series of drawings on carbon paper and five further mosaics, smaller in size. The artworks are to be displayed in a dark environment.
The large mosaic creates a space that envelops the viewer as it presents an opportunity of contemplation in the dark. The night and the Sea invite us to face our losses and desires in silence and to carry on by reflecting on what is of most value.
The mosaic consists of thousands of small tesserae which forces our gaze to scan its surface constantly in order to actually see it. The bronze tesserae reflect the light while the brightness is altered depending on the viewer’s standpoint. This movement of the viewer and the shift of the gaze create an alterable space.
The drawings attempt to seize the lightful traces of the perpetual movement of the sea. The night, free of the burden of darkness or death, but rather as fertile mourning of the daylight can lead to a process, one of acceptance of the loss of things presumed by embracing the ever-changing nature of life.
Mourning is experienced as an interval in life, which traverses silence, since words do not suffice to describe it. Mourning is a pause that enables clarity.