Vasiliki Sifostratoudaki

tentative title

Thinks i enjoy making. Is it all about the process of questioning?

The absence of the subject and the present of the object. Where is my limit and where is theirs? How do i defend the work and not me?
 main ideas: (Language as a space) (Choreography: organising time between material/space/works) (Poetry the space where private and pubic overlap) (Invite: ask from someone to seat next to you) (matter/material: a combination of ethnographical/private values mixed with the meaning that obtains though its use by the user) (texture as colour) (Idea as matter- through its effect and the need of an material for its existence.)

Introduction A general introduction laying out your plan for your final project. Be as specific as possible about the form you imagine the graduate project to take.

in this _ _ _ I will try to avoid all given terminology and techniques in my thoughts. I will try to use of my private unconscious and perhaps conscious mechanism which allow me to make my material. Keeping always in mind the un distinct limits between private and public, I will experiment with registering several actions and their sequence. The overlapping space of the private and the public will became my space of research/investigation.

I will think on the concept of reality though description and παραθεσεις/ oppositions by a line up, array, apposition, deployment, arraying of different elements/ works that each one will have an activating part of the final arrangement. The number of the elements could vary from one to several.
Several everyday habits, obsessions, observations will be transformed in my studio and will then be reactivated as material for a possible arrangement-sculpture. In this arrangement -sculpture, the space is an on going movement not through moving necessarily - action- but through inhabiting time. The viewers, the space, the objects will be in an alignment and nurture each other’s reading. Each of the parts will have title, timeframe and materials, in this way they will claim their independence. the status of the work will be in two stages description and real staging. As basic tools I will use description(oral, visual, storytelling) and αναποθέτηση.

The final body of work it self will be a story/ a game to be involved with different sites of association will be implied. 
 Describe the field you wish to research. Like a stone i try to take the breath in, from my surroundings.

Α. I tent to use a language that is sometimes actual and sometimes enters the realm of the real. I often attempt to translate my thoughts into objects, texts, signs that introduce links to communication. I am working with realistic forms of interpretations i make suggestions of assembling elements. Usually when I write, things disappear. Words seems to find different form and through there form different meaning. {A meaning untranslatable to others or perhaps unrecognisable. Only from their sound they could be recognised.}

But how could I find out about their accurate sound in a language?Could language be a space? I am still thinking of the mechanism of how something like that could work. What if even thought we were born in a place we wouldn't understand or had not the capacity to recognise the words. When I recently returned to my language, the known had become unknown/ανοικιο. In an extent that the adjustment period abolished and the desire to make up mechanism for maintaining the effect, was developed. Not to understand. that allowed me space for imagination and aporia/query, my senses seemed to be more active and I record thinks by them. the lost of language or its false interpretation always allowed me to play between reality and its realisment. 
Β. Possible scenarios are implied through their usage/χρήση of the works and their materiality. A selection seems to turn into a collection in my studio. Collections are not always understood as one, but only to their user.Their value varies according their context as well as their content. Sometimes their importance is determined by the obsession of the maker and other by the value of its elements.

The habit of collecting could be traced in the habit of people as well as to animals. The objects sometimes keep their normal value (normal: the culture has a realistic approach through its understanding of reality) or obtain a surplus value by their given meaning from their owner that treasure or use them. In all the above cases all the selected parts of the collection seem to have a usage/χρηστικοτητα, either is a practical one or not.

If the aesthetics are there, is the poetic necessary?

A beaver is gathering wood to build each nest on the waterfall. https://www.youtube.com/watch?v=IIYPCg66boQ

C. a sculpture
observer view: anthropologist/ deductive/ scientist/ child/ artist/ choreographer/chef / gardener. 
I observe from a distance, between my personal view and the (social) structure that include me, I find poetry in a sense of making.

Description/delimitation/ naming, περιγραφη/οριοθετηση/ ονοματοδοτηση, by defining something do you make it exist or disappear?

Identify key questions driving what you want to explore and how you will test these questions through practice.

How do i connect with other collections? what do i mean by collecting? Is my work a selection or collection?

What is the act of writing and the act of real? Where is the place of interior and exterior perception?(studio - exhibition)

What are the tools I use? What is materiality for me?

Why do I use the word sculpture?

What is the difference between invitation and choreography? Could my work be a choreography between space - object - viewer ? What or is, a there performativity site in the objects- space - viewer? What is choreography? treated time? What i mean by invitational?

Is all of the work invitational/participational and how?

What is the position of the artist?what is the level of responsibility?is it shared? What am I providing?

Realism, the culture has a realistic approach in its understanding of reality?What is reality for me? How do the evidence of the real coexist with its understanding?

Could the work be an on going series of contracted evidence which when join together they allow a reading?

Is my work autobiographical? How do I connect with the ethnographical use of materials? what is an (anthropological)/observational view? how do i defend the work and not myself? where is our limit?

What is the difference between choreographing and inviting? Is there really a difference other than the environment they take place ? 
- A home - a theatre maybe the difference is between the intimacy of the participants? or if its not among them it might be with their host.

Relation to previous practice. 
Remember to briefly explain or describe related projects as the external is not familiar with your work. It is useful to address the points raised by tutors in the feedback from your Self-assessment at the end of trimester 3 and to draw on your 'essay on method' written in trimester 2.

looking hearing touching using relocating thinking participating watching reading gazing

“Fold and unfold” is an event that is composed by two actions that take place in parallel space and time. All of its objects are a cross between sculpture and drawing, a two dimension surface that becomes and three dimension and vice versa. In “Fold and Unfold” the viewer is invited into the space to participate by observing, hearing, seeing, and acting. “Fold and Unfold” was the first attempt to combine to actions that seemed to be totally separate and try to create a space between the objects and the participants that could be actually been observed.
 Several sentences that are written in different parts of the space invite the viewer to experiment with the fleeces and occupy the space as he desires. At the start the fleeces are folded and placed on a table. Five fleeces of different sizes and different texture or softness in variations of white, grey and black 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. 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 and porcelain, clay or plaster objects of the same shape on her lap. She slowly starts building a line from her lap to her chin with these, while the objects build up and fall down as she assembles them. The sound of the objects is creating a common soundtrack for both actions in the space. This piece is in constant flux, and the viewer becomes the performer, the performer becomes an object, the object becomes the initiator of the action and vice versa. 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” is a wall piece comprising six objects and a text, the text is written below or beside of the object's arrangement. 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 realised that they didn’t exist, I had constructed the paintings in my remembrance. The piece arose from a 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.Similar territory is explored with this piece as well. In the same way that one is dealing with impossible drawings in “Fold and Unfold”, there is something unresolved about the reading and form of “Is not there". Both encounter the space between the viewers, the work and the maker.

"Mushrooms" consist of a log in a cube made out of plexiglas and its documentation of the different stages. A non - sequential archive of images that show the different stages is projected in the same room as the logs of mushrooms. Each side of he cube is of 51x51cm, only one side has a 12 cm gap at the bottom. The specific opening was necessary for creating the proper humidity conditions for the fungus to grow and for a possible suggestion/invitation to engage.

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 and create a common site.

An invitation to complete a possible script/score/ invitation of inhabiting a given space. The outcome could vary, according to the decisions of the participants and their intentions as well as from the local materials.

With both “Pantone Green” and “Mushrooms”, this immaterial space - an arrangement sculpture- that invites all of us to observe it and work/think/ play with it is more evident, in both cases, space is registered either by the use of an plexiglass cube or by the placement the materials that could be potentially used.

Even with the project “Untitled” the materials take over the works and replace their name with their echo. Matter becomes important for understanding the sculptures that are laying in the floor or on wooden pedestals.

Relation to a larger context
Meaning practices or ideas that go beyond the scope of your personal work. Write briefly about other projects or theoretical material which share an affinity with your project. Keep in mind that we are *not* expecting well formulated conclusions or persuasive arguments in the proposal phase. At this juncture, it's simply about showing an awareness of a broader context, which you will later build upon as your research progresses. examples of artist historically philosophical story telling

Practical steps
Describe how you will go about conducting your research through reading, writing and practice. In other words, through a combination of these approaches, you will explore questions or interests you have laid out in your general introduction. In this section you can help us understand how your project will come together on a practical level and talk about possible outcome(s). Of course, the outcome(s) may change as your research evolves, but it's important at this stage to have some idea of how your project might come together as a whole. Inhabiting time

reading philosophical / story telling/ descriptive texts commercial/ literature/ poetry - is there a distinction?
 writing A text were words act like phrases and phrases act like stories. they all come together as separate events on a dinner / bottles on a lamp/ instated movements on a dance studio. Exploring ideas as ability and disability, sense and no sense, funding pleasure in nonsense. Allowing a contracting game that sometimes excludes or includes participants but always inviting a ανταλαγη/exchange between the players. I will attempt to avoid using terminology and symbols as they are the most confusing area for me, they seem to have endless interpretations and variations since their participles are in alignment with their personal understand and the deconstruction seem impossible. ( it seems that i try to find the essence..i thought i was over that…????)

practise 1. A monthly digital publication that will present the register of the material, in written, visual and spoken text. In each will have a different subject, a guest will be invited to contribute on the subject from different fields. I am still not sure if its title should be different. -

2. studio based works: that use textural attributes

3.

References
A list of references (Remember that dictionaries, encyclopedias and wikipedia are not references to be listed). These are starting points which should lead to more substantial texts and practices. As with your previous essays, the references need to be formatted according to the Harvard method. See: http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing#The_Harvard_System_of_referencing Feel free to include any visual material to substantiate, illustrate or elucidate your proposal. For example use images to reference your work or that of others.

Thinking making looking touching

handling seeing hearing smelling feeling observing becoming

inviting dreaming participating involving contacting

assuming planning constructing deconstructing remembering assembling a sculpture.