F4

In the new world with the rush that doesn’t leave us space to realize the changes that happen all the time, we everyday come across the unknown that we are supposed to decode. Alterations of the things we believe we know, new perspectives that we have to explore in order to not get lost in the confusing problems that the necessity to fit brings in the constant changing reality.

We live in order to improve our conditions and find the way that is more friendly to us in order to express ourselves and survive inside our restlessness, the problems and the answers that we give and be given.

We desire to “live poetically” but “the power of the new technique, in conjunction with the world’s scientific industrialization, eliminate every possibility to stay”, as Heidegger says.

Where can we live poetically then?
Which one is our only home? The one and only truly ours?
Our Residence?
Are they the items that surround us and “belong” us?
Or is it our body?
From the moment a person is being brought to this world, until the end, the only safe and familiar place is his body.
The residence of everyone’s spirit and personality.

My main approach for both of those subjects, In Between and Residence/Reside, is done with common denominator the human and its body.
I chose to use the human body in my projects as it’s the place that the truth takes place.
 

Having in mind the words, home and familiar, I considered the body as the only true home, but in addition as that “between”, “Being” and “Out”.
Reflecting on the words Martin Heidegger: “The relationship between a person and space is none other than the meaningful favored dwelling”
 

The connective factor between imagination and every project is the corporeality of the body.
The movement of muscles and our skeleton with the guidance of our mind, creates.
The body is what is “between” the thought and the art.
This is illustrated in my work Residence/Reside.

Are there any limits to the “optic” illusion?
“The limit is not something that stops, but the limit is where something starts to express its sense.”
Y. Pallasma, The Thinking Hand.

The creator with his/her own perspective, thinks and creates a composition by putting his/her limits and considering the feelings that are born.

Afterwards, the audience is doing its own approach, from a distance of course and with its own culture.
 

What are the limits that an artist can reach for creation?
What are the limits that a human can reach in order to accomplish the complete and ideal image of itself?
Where can failure of that lead?

There is a beauty in destruction and pain.
Creation Through pain.

Hanging was and remains one of the oldest and most commonly used methods of execution.
The oldest reference can be found in Homer’s “Odyssey” – Rhapsody x, Telemachus himself hangs 12 slaves that betrayed Penelope.
 

In the M. Fuji’s foothills in Japan there is the forest “Aokigahara”, also known as “Sea of Trees” or “Suicide Forest”, in that forest hundreds suicide every year mostly by hanging.

The tragicalness of the event and the observation of the body being prey to the air, helpless, unable to move a single muscle with its own will, causes fear but on the same time a feeling of magnificence.
A figure looking like a statue that provokes fear and repulse, but on the same time awe.
 

Through pain, confusing feelings are created to the audience.
Through that atrocious event, something new is created.
 

In my works with theme: In Between, the hanging body, like an utopian space that exists between, functions as a contact mean as well as a canal from the paint to the wooden surface.