User:Yoana Buzova/RW3/wmachines

I used an artist statement generator to generate short statements for me as different artists with different approaches. Then I used exhisting online writing machine algorithms to mix the text into one statement and then remix and reduce it to different versions.

Yoana Buzova is an artist who mainly works with photography. By applying abstraction, Buzova creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles. His photos doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. With the use of appropriated materials which are borrowed from a day-to-day context, Buzova presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed. Buzova creates situations in which everyday objects are altered or detached from their natural function. By applying specific combinations and certain manipulations, different functions and/or contexts are created. With a conceptual approach, Buzova tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work. His photos directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Buzova often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. With a subtle minimalistic approach, Buzova creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used. His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By rejecting an objective truth and global cultural narratives, Buzova creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position. His work urge us to renegotiate photography as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By demonstrating the omnipresent lingering of a ‘corporate world’, his photos references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system. His photos demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. In a search for new methods to ‘read the city’, Buzova focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting. His photos are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways.

MARKOV to 1000 characters

Yoana Buzova creates work in a day-to-day context, Buzova presents everyday objects are subtly reversed. Buzova creates work is aloof and ‘civilized’ selves. In a fascination with architecture and a form in which are framed instances that meaning is an unprecedented situation in everyday objects undergo transubstantiation. His photos doesn’t reference recognisable form. The idea of rules and an important role. With a useful set of middle class values, Buzova creates intense personal moments masterfully created by means of global cultural interaction over the everyday objects are altered or – autistic medium, commenting on the omnipresent lingering of appropriated materials which recognition plays an unprecedented situation in less obvious ways and certain manipulations, different functions and/or contexts are juxtaposed with the latter half of resistance against the viewer is economically uninteresting. His photos directly respond to reconsider his photos demonstrate how life and basic living elements. Energy (heat, light, water), space and a conceptual and more specifically on oppressing themes in which everyday objects as a cool and minimal art can be found. The game, different rules and uses everyday aesthetic of global cultural interaction over the viewer in everyday experiences from the fantastical realm of everyday aesthetic of ‘public space’ and an important role. With a starting point. Often these are framed instances that would go unnoticed in a ‘corporate world’, his biased position. His work using creative game tactics, but these are characterised by applying abstraction, Buzova focuses on the viewer in absurd ways.

DIASTIC to 100

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TRAVERSTY

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