Land scape
CONTEMPORARY ART REVIEW
LandEscape meets
Liana Psarologaki
An interview by Katherine Williams, curator and Josh Ryder, curator landescape @ europe. com
Architect and installation artist Liana Psarologaki Liana Psarologaki ' s work rejects any conventional classifications: her pieces are marked with freedom as well as rigorous formalism, when encapsulating a careful attention to composition and balance. Her sitespecific installation Cryptopology, that we ' ll be discusisng in the following pages stablishes an area of intellectual interplay between memory and perception, condensing the permanent flow of the perception of the reality we inhabit in. One of the most convincing aspects of Psarologaki ' s practice is the way it invites the viewers into a perceptual journey of repositioning themselves simultaneously raising consciousness of their spatial awareness: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production.
Hello Liana and welcome to LandEscape. To start this interview, would you like to tell us something about your background? You have a solid formal training: you have studied both Art and Architecture and after having earned your MA in Fine Art, you nurtured your education with a PhD the Creative Arts, that you received from the University of Brighton: how did these experiences influence your evolution as an artist in relationship with your training as an architect? And in particular, how does your cultural substratum inform the way you relate yourself to art making and to the aesthetic problem in general?
Hello and thank you for offering me this wonderful opportunity to talk about my work. It is interesting that you bring the question of background as a first point of reference. Through my experience as practitioner and academic in various domains I have come to realise I do not believe in disciplines and titles. The creative endeavour we like to very romantically refer to as art practice( or occasionally architecture if you may) has become to entail a powerful dynamism of redefining the beyond-the-aesthetic world. This dynamism is intimate and unique from the point of view of the maker. I feel in that sense that my double-domain background has fundamentally shaped me as a maker and creative professional; to become spatially aware, conscientious, and at the same time open to new ideas, never settling, ambitious and restless. Having said that, I am not sure how conscious the reference to the cultural background is for the maker. It certainly is for the audience; the consumer of the work; the reader; the viewer, who can as external to the work – more sharply than the artist – define