Mariusz Sołtysik
Land scape
CONTEMPORARY ART REVIEW
records unemotionally the act of being in that state. After recording, the material is transformed using a standard 1970s video effect( conscious decision). We receive an‘ objective’ image / visual trance performed by a‘ subjective’ person in trance. This trance increases the impression of time and describes a particular space. This trace, this recording is an ephemeral sculpture, which writes down the movements of a body. It is not only Muybridge’ s recording of movement. It is an extension of body and time done digitally. It is not only a technical image( Villem Flusser) which records the reality. It attempts to mutually describe: space, time and body. It is inspiring for me.
The power of visual arts and especially of photography in the contemporary age is enormous: at the same time, the role of the viewer’ s disposition and attitude is equally impoartant. Both our minds and our bodies need to actively participate in the experience of contemplating a piece of art: it demands your total attention and a particular kind of effort— it’ s almost a commitment. What do you think about the role of the viewer? Are you particularly interested if you try to achieve to trigger the viewers ' perception as starting point to urge them to elaborate personal interpretations?
Great question. There isn’ t probably an artist in the world, who would not want for his or her projects to be the ones invoking emotions and personal interpretations. To paraphrase Macluhan – in art the most important is suggestion. Thanks to the fact that something was not fully uttered, the viewer has got a chance