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In this text I will discuss a sample of my work : Fold and unfold, Is not there, Mushrooms and Pantone Green. All are concerned with time as a material; how things become through physical interaction, memory and the structure of the organism itself.



'''“Fold and unfold”'''

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“Fold and unfold” is an event that is composed by two actions that take place in parallel in space and time. All of its objects are a cross between sculpture and drawing, a two dimension surface that becomes and three dimension one and back. In “Fold and Unfold” the viewer is invited into the space to participate perhaps by observing, hearing, seeing, and acting. 

Several invitations that are written in different parts of the space invite the viewer to experiment with the fleeces and occupy the space if he desires. At the start the fleeces are folded and placed on a table. The five fleeces are of different sizes in variations of white, grey and black and have different texture of softness. All of them have geometric shapes drawn on them, some drawings are made with a silkscreen technique and others with mechanical embroidery. The drawings depict an impossible space; they are optical illusions in which the foreground and the background of the object shift place. 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 or even as an obsession for order. There are ways to fold something according to your intentions. It can be a private monologue or it can create a space between people. There is something mystical in it as in a silent conversation; the action of folding is often part of rituals and ceremonies. 

A woman in a red cotton dress sits on a chair near the table but not next to it. She has a pile of shells in her laps as well as porcelain, clay and plaster objects that resembles them. She slowly starts building a line from her lap the her chin. The objects build up and fall down as she assembles them. The sound of the objects is creating a soundtrack for both actions in the space. The performer could engage with the audience or not. The duration of the action is on the decision of the performer.

The piece is in constant flux, and the viewer becomes performer, the performer becomes an object, the object becomes the initiator of the action and back.
Time covers every action in the space and determines the mood of the participants. The activation of the possible gestures changes the rhythm and the intensity of the situation.



'''“Is not there”''' 


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“Is not there” is a wall piece comprising six objects and a text, the text is written below or besides the 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 its reading and form. Both encounter the space between the viewers, the work and the maker. 

During my first days in Holland, I had heightened awareness of the Dutch light. It was then obvious why people painted the way they did during the time of the Dutch Golden Age. The text speaks of an experience, and memory, of an incident that took place in a Dutch market where I saw six objects on a table. These objects triggered memories of a Dutch painting, the kind of painting in which mundane objects are commonly placed along with an ideal scenery. When I started to look for the particular paintings I realized that they it didn’t exist, I had constructed the paintings in my memory.  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 new story.  The viewer is invited to follow a series of events with his/her mind. That seems to have a cinematic narrative.

Could the materiality of six objects in a certain environment trigger a memory flash back and could they themselves become makers of a new experience?
The appearance of the piece changes every time is showed; the first time the text was printed out in a small size in an A4 page and played the role of the title. The second time the text was hand written in the wall in one and a half lines (total length 4m), the reader could read the text only of he/she moved in the space. The six objects were glued in the wall, in a “kanoniki”, arrangement, two rows of three, the rows were exactly one on top of each other. The objects had with the same distance between them. 
Another time all the piece was inside a rectangle of light, the six objects where at the top and the text was once again hand written but in an almost cantered alignment with the object, this time the reader would have to stand still and close to the work to read, sometimes he/she would block the light and interfere with the visibility of the text for themselves and others.
Every single situation brought up a different hierarchy of the elements of the work as well as a less or more personalised connection with the author.
It seems impossible to decide the final hierarchy of the elements without the space that they will be in. The desire for the position of the reader in the space seems to formulate the final presentation of its elements. In all the cases the readers seemed to be drawn to the text and not walk away from it. 
The shift between the roles of the elements, create a different mode for understanding, its materiality – memory, gesture, storytelling, involvement of the reader – in all the cases the found objects worked as primers for the experience and the verisimilitude of the story. It makes me wonder about the possible spaces that the work could inhabit. What would be the case of involving a digital space or a more demanding participation of the reader?  

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. Both stay in the size of human scaled objects; something someone could in move in space literally or not, is never small enough to hide in your pocket and not so big that it could be  unmanageable


'''Mushrooms'''

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"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 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.” ("Process Philosophy” online Stanford Encyclopedia of Philosophy)

Time seems to effect the form/status of the mushrooms, but not their condition of existence. They keep on being. They continue their process independently as they go through different status. I grow mushrooms in my studio on different logs. What was interesting was their material properties and observing the way the funguses grow and found form. They were one organism, which had endless possibilities of evolving in an unpredictable form, as they operate as one large underground organism. They are fungus. They build on each other but grow independently in distinguished units.

Mushrooms, consists of a log of mushrooms and its documentation of different status of growing as well as a cube made from plexiglas. The log could be of different spices  every time and also in different status -dried or not.  A non - sequential archive of images of different status of the mushrooms log is exhibited at the same or different room. Each side of he cube is of 51x51cm, only one of its sides is missing 12 cm, at the bottom. The specific opening was necessary for creating the proper humidity conditions for them to grow.

The ideal form of the cube transforms a natural object to a treasure object. The cube creates the distance between the viewer and the mushrooms and put the first one in the position of an observer of an object, in a similar situation we experience in a museum. The ideal conditions of presenting the object, is interrupted as much as from the form of the mushrooms and their the continuous transformation, as well as from the side opening that implies the possibility of engagement of the viewer wit the object.

“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 analyse becoming and what is occurring as well as ways of occurring.'' (Process Philosophy” online Stanford Encyclopedia of Philosophy)



'''“Pantone Green”'''

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Pantone Green”

“In the wake of this study a plea is made for a new definition of nature: nature is the environment in which you live and nowadays, for many people that means the city.” 
(Cub Donny, issue 10, “It’s the user, stupid!”, Kristen Algera) 
"There's this huge gap between reality and its possible representations. And that gap is impossible to close. So as artists, we must try different strategies for representation. ... The process of identification is fundamental to create empathy, to create solidarity, to create intellectual involvement." “I am hoping that this combination of creativity and ephemeral existence will perhaps help define the importance of contemporary art in our lives.”
Alfredo Jaar (http://www.globalimaginarydia.org/index.php/2013/02/the-skoghall-kkonsthall-2000/)

Pantone green is an action that is performed by a group of people. Several gestures are suggested - cutting, hanging, composing, and discussing - in order to decorate a corner of a room. The elements that could be used are three logs, printed images of plants, some soil, plants in pots, clay and some wooden constructions.
A script/score/invitation for completing the work is given to the visitors. All the scripts/scores/invitations contain different drawings of the space, and inform you about the possible positions of the elements.
In the corner: a pencil drawing of a grid, a cut log mounted on the wall. The adjacent wall has a window that allows you to see outside. All the materials and the tools are on the floor. The pictures are printed in an A4 format with a white frame around them, which should be cut for them to fit in the grid. In order to hang the pictures, black needles are available. The images are photographs of plants in an urban or domestic environment. They are placed horizontally on the wall even though their theme does not always have a horizontal format. Due to this distortion the themes were not easily recognizable and in the end they all became a wall paper/painting rather than an accurate representation of the outside. An irregular square is drawn with soil on the floor. The cylindrical porcelain pieces became extensions of the log’s branches. A reversed wooden planter operates as resting case for tools, plants and other materials. Several plants in pots are in the space and could be placed in many possible positions. A piece of clay could be used as base for something.
No documentation of the action is left in the space for the future visitors; the only evidence of their actions is a photograph of the space with a date that was completed as well as the sample of the instructions that were used.
A workshop? A sculpture? An installation? Maybe a performance? All the previous mentioned terms have a specific context and require several conditions in order to be completed. With no intention to challenge these terms but driven from curiosity, I invite the visitors to help me complete a possible script/score of inhabiting a given space. The outcome could vary, according to the decisions of the participants as well as from the local materials. Participating myself in the new conditions that the dynamic of the group will create, exploring from a new perspective the possible outcome of the script/score.


Materials/ Tools: Wood, paper, porcelain, soil, scissors, needles, a window, clay, a silicon gun, scissors, pencil, soil, paper tape, hammer, glass, nails, and ruler.
Dimensions: Variable




Recently, I was thinking of the ocean. What is it? Is it part of the environment?is it the home to all the creatures that live in it it? Is it the substance that determines the borders of the land? Does it has time or is included in it? What could possible i be its shape?are each edges evident? What is each color and chemical substance? How do I know what it is ? And in the end is that the question i should be asking?

What If the object is not the centre of my quest but what if the initial point are my questions? Where does it places me and the one that takes/receives them?Where does the work starts to exist? Does it exist in the links between the participants? Does someone has the lead or is it a choreography between the object, the viewers, the maker/initiator?
Perhaps it operates as vivant tableau, that roles shift and different aspects are presented each time.

 
Is all about the process of questioning?







'''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 through the ages, 
An encyclopedia , general editor Allan D. Fitzgerald, O.S.A, foreword by Jaroslav Pelekan, paragraph 3, p.835

Hans Haacke, 
“Condensation Cube”, begun 1965, completed 2008, Plexiglas, water, http://en.wikipedia.org/wiki/Hans_Haacke

Ricardo Basbaum, 
“Would you like to participate n an artistic experience?”, 1997 still going., http://www.nbp.pro.br/

Allan Kaprow,
"Assemblage, enviroments, & happenings"

Ricardo Basbaum,
http://www.artandresearch.org.uk/v2n2/basbaum.htm

Giannis Ritsos,
"Selected Poems 1938-1988", edited and translated by Kimoen Frisar and Kostas Myrsiadis

Gertrude Stein,
"Three live and tender buttons"

Giorgio Agamben,
"The sacrament of language, an archeology of the oath."
Translates by Adam Kotsko

Different urban gardens in the Netherlands, France, London and Greece.







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