Installation

Ceilingscape01

CEILING-SCAPE I

Model

Mixed media, dimension variable

The semi-industrial installation plays with the concept of displacement and illusion. The viewer, entering an empty space and looking up, discovers an upside-down world on the ceiling made from bricks reminding of a city-scape.
The bricks, seemingly heavy, nevertheless appear to levitate under the ceiling.
The work exposes absurdity, precariousness and futility that prevails in the contemporary culture and questions a number of concepts in art, such as monumentality, materials, stability, perception and meaning.

Morgue InstallationMORGUE INSTALLATION

Model

Mixed media, dimension variable

im05b

ENTROPIC ENVIRONMENT

Mixed media, sand, volcanic ash, acrylic paint, glass and mirror splinters, debris on tarpaulin, approx. 6 x 6 m with a painting, 240 x 120 x 6 cm

Ceilingscape02

CEILING-SCAPE II

Mixed media, dimension variable

The Impossible Lightness of Being

THE DECEPTIVE LIGHTNESS OF BEING

Installation

With Painting ‘STORMY WATER III’, acrylic, volcanic sand, ash, glass, mirror shards on canvas, 200 x 200 x 6 cm; and Sculpture ‘THE IMPOSSIBLE LIGHTNESS’,  foam, 445.5 x10 x 6.5 cm

The Deceptive Lightness of Being (detail)

THE DECEPTIVE LIGHTNESS OF BEING

Installation (detail)

The site-specific installation could be described as an assemblage of two seemingly disconnected parts which in themselves represent different types of dislocation: the sculpture utilizes the material edge dislocation while the painting is about geological and optical dislocations.
Intended to explore the tension between rational and irrational principles through the media of sculpture and painting, the installation employs two different methods. The sculpture is concerned with the language of constructive, quasi architectural forms and industrial-domestic materials, such as foam; the painting emphasizes physicality and sensuality of random processes and natural materials, such as sand and ash.
Regarding significance and contextual references, the deconstructive concept of dislocation is based on the subversion of oppositions. In their synthesis, these seemingly antagonistic structures create a new category combining both aspects and undermining the meaning of its parts. Consequently, ‘The Deceptive Lightness of Being’, metaphorically presenting two conflicting sides of the human condition: our reason and our passion, the strive to progress and the compulsion to plunge into the abyss of dark, subliminal and destructive desires, represents a meta-event with a new denotation, which brings to light the experience of confusion and absurdity.

Dislocation (detail) 01

DISLOCATION

Site-specific installation (detail)

Mixed media, approx. 25 sq m

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PASSAGE

Site-specific installation (detail)

Mixed media, sand, debris, industrial sound, approx. 12 sq m

at the Crypt Gallery, London 2015

Passage

From now to eternity, there is a dark passage through which you need to go to obtain freedom from everything that means death.

 The work questions basic assumption about life, its meaning and relevance. Twisted in reality, Existence expresses itself as a dark and absurd non-entity, the sense of which is a kind of simulacrum. In addition, there is a physical concept of death as a trespass of a dark and dangerous space with light at the end.

Simulacrum, illusion, parody of building processes, mixture of genuine and artificial materials, deconstructive and dislocation techniques, light effects and darkness, besides an eerie industrial sound are the means to create a semi geo-industrial waste environment – the absurd ruins of the passing time.

 In technical terms, the installation deals with a material and architectural dislocation and, in general, with an urban-space misplacement, comprising materials from the making process disposed into the surrounding space and generating an entropic waste environment that very much reminds of a war zone.

Futility and absurdity manifest themselves in the rows of hanging ‘bricks’, with some breaking middle ways, some stretching further to the floor, just ending in a few centimeters over it and the others bending when reaching the floor. The situation even more is absurd when people realize that the columns with apparently heavy and dangerous bricks are effortlessly swinging from side to side while passed by.

The visitor makes a decision whether to enter the semi-dark, dangerously looking space and find his way through the unstable brick columns to the opposite side with the exit or remain at the entrance looking at the work from outside. Needless to say, that the perception of the work changes by going inside and making the passage journey through the space. The ‘passage’ starting with the decision making of the onlooker thus reveals the epic and metaphoric dimension of this work.

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