Vasiliki drafts

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2nd

In this text I will discuss three works (fold on fold, is not there & mushroom [untitled]). All are

concerned with time as a material; how things become through physical interaction, memory and the

structure of the organism itself.

Time seems to have an impact at objects that is not observed in the everyday notion. A common state

is observed between objects and organisms that it leads to the transformation of the matter, in such

understanding, time, as part of the equation maybe finally be perceived as an object as well. Maybe

the limits of describing entities or reality is somewhere between the meaning of space, world, self,

others, possibility, matter, faction, meaning, time. (“Process philosophy”,Stanford )

“Philosophers analyse becoming and what is occurring as well as ways of occurring.

The forms seem to have a sense of totality, which is a classical conception.

According to Aristotle, something is beautiful because we can comprehend its totality

but totality could be found in the parts that don’t necessarily form/belong to totality according to

Plotinus ****(to do)8****

Materials that have an asymmetrical structure interrupt the platonic purity of these forms.

Use of shapes could easily be read as part of an artistic language and tradition – cubes, shears and

rectangles. Again, I tried to play with these classic forms and play them against the materials they

were composed of, which do not readily comply with these clean, mathematical forms.

These forms have a sense of totality, which is a classical conception.

a strange intellectual game, but in a kindergarten environment. You play with objects but there is also

a limit to how you might engage with them.

Hopefully they will be able to get these things in a direct and playful way.

“Fold and unfold”

In “fold and Unfold” the viewer is invited into the space to unfold and fold the fleece and occupy the

space.

“Fold and unfold” is composed of four or five fleeces, of different sizes in variations of white, grey 

and black, which have geometric shapes drawn on them. Some drawings are made with a silkscreen

technique and others with mechanical embroidery. All drawings are made in a fleece fabric of a

different texture.

The drawings depict an impossible space; they are optical illusions in which the foreground and the

background of the object shift place. The fleeces on which these objects are drawn are folded and

placed on a table. The viewer is invited to unfold the fabric and occupy the space. All of these objects

are a cross between sculpture and drawing. They keep their material essence as objects and the

gesture of drawing is also apparent.

Folding and unfolding is an ordinary action that creates gestures – it can be experienced as a gentle

conversation. There are ways to fold something according to your intentions. It can be a private

monologue or it can create a space between two people. The texture of softness is very different to

a sheet. There is something mystical in the silent conversation. Or perhaps it is a fight! Is it a strange

dialogue?

The piece invites the viewer to reflect on these concepts of use and materiality and to experience their

transformation. All the fleeces are on a table. The installation is in constant flux, the viewer becomes

performer and the mediator between the objects and the artistic intention by folding and unfolding the

fleeces, allowing or not for the drawings to appear.

What was behind the motivation of making it?

1.Warmth?I was cold that time

2.How can I break the geometry/structure? but keeps its calming feeling

3. Why not fold the fabrics?

4. I wanted the viewer to have private space/time with the object, sense its softness and smell (maybe

wash them before??)

5. Origami, Jesus clothes, tv. American movies triangle fold when someone is dead, riual of folding,

folding my bedsits by my own, memories of folding with others.

“Is not there” / What is its status?

Where are its edges? Could the materiality of six objects in a certain environment trigger a memory

flash back and could they them selves became a new experience?

“Is not there” is a wall piece comprising six objects and a text, the text is hand written and it is

presented below or besides an arrangement of the objects. With this piece as well I explore similar

territory. In the same way that you deal with impossible drawings in “Fold and Unfold” in “Is not there”

there is something unresolved about their scale?

The text speaks of an experience, and memory, of an incident that took place in a Dutch market

where I saw six objects in a box. These objects triggered memories of a Dutch painting, the kind of

painting in which mundane objects are commonly placed. When I started to look for the particular

paintings I realized that they it didn’t exist, I had constructed the painting in my memory.

The viewer is invited to follow a series of events with his mind. That seem to have a cinematic

narrative.

The piece arose from a strange collage of different memories. It’s like a dream where you add up

all the different memories to make a coherent form after you wake up. It was during my first days

in Holland after moving from my native Greece. I had heightened awareness of the Dutch light. I

understood why people painted the way they did during the time of the Dutch Golden Age.

Both pieces, although conceived separately, relate to each other because they both play with our

sense of everyday experience. They provide an invitation to play and engage with the space and with

the objects.

In both cases the works are becoming the medium, human scaled objects; something someone

can carry or move in the space but not so small as to carry in your pocket and not so big as to be

unmanageable. In all three pieces, they depict geometric shapes but the geometry is not perfect

because the structure of their materials, which they are made of, interrupts their geometric perfection.

They move from a geometric structure to an organic structure and back again.

At that time I was thinking of what could form something contemporary, which concepts is artist

invited or challenged to include in his her work? What are the main ingredients that form the question

you include in your work and form the final form??

Mushrooms

Still don’t have a title …

Intro

These forms were interrupted by the materiality of the objects, as time seems to have an impact at

objects that is not observed in the everyday notion.

OR ///////////Time seems t have an impact at objects that is not observed in the everyday notion. A

common state is observed between objects and organisms that it leads to the transformation of the

matte, in such understanding, time, as part of the, equation maybe finally be perceived as an object

as well. Maybe the limits of describing entities or reality is somewhere between the meaning of space,

world, self, others, possibility, matter, faction, meaning, time.

I decided to grow mushrooms in my studio on different logs that I bought in the market. What was

interesting was their material properties and observing the way the funguses grow and found form.

I kept them in a 51x51 cm cube made from plexiglas that was missing 12 cm in the bottom from the

one side. That allowed enough oxygen for the mushrooms to grow but also created the necessary

humidity.

A non-sequential archive of images of different stages of evolution of the mushrooms was mad out of

my observation for four months.

Time seem to effect the form/status of the mushrooms, but not their existence. (?)They on exist on

their own no mater what you do or if they are dried or not. They are one organism, which has endless

possibilities of evolving in a form that is unpredictable. What is important is their internal mechanism

that allows them to reproduce and appear. In nature mushrooms exist in a middle space. They are a

fungus, not a plant that seems to borrow the same logic as the mussels for developing. Mushrooms

size actually is much bigger from the one we see since part of it is their underground network.

Plotinus: Plotinus was a major philosopher of the ancient world. In his philosophy there are three principles: the

One, the Intellect, and the Soul. His teacher was Ammonius Saccas and he is of the Platonic tradition.

Everything flows: Heraclitus of Ephesus was a pre-Socratic Greek philosopher

Thus contemporary process philosophy not only holds out the promise of an integrated metaphysics

that can join our common sense and scientific images of the world. It is also of interest as a platform

upon which to build an intercultural philosophy and to facilitate interdisciplinary research on global

knowledge representation

Philosophers analyze becoming and what is occurring as well as ways of occurring.

http://plato.stanford.edu/entries/process-philosophy/

General Conclusion

Bibliography

Process Philosophy

http://plato.stanford.edu/entries/process-philosophy/

Future Contingents

http://plato.stanford.edu/future-contingents

Identity time

http://plato.stanford.edu/entries/identity-time/

Manuel De Landa

DeLanda's lecture pon morphogenesis and art

http://www.youtube.com/watch?v=5HSMTUZ64bY

http://en.wikipedia.org/wiki/Manuel_De_Landa

Jane Benet

Artistry and Agency in a World of Vibrant Matter | The New School

https://www.youtube.com/watch?v=q607Ni23QjA&list=FLPOr9wdse7F-brw85alMjBg&index=7Armey Benet:

Augustine on time