Liana Psarologaki
Land scape
CONTEMPORARY ART REVIEW associations, read precedents, and note patterns. For instance, I was recently asked in a public presentation, if I consider the high visual contrasts of the Greek classical world as a fundamental issue in my work – to be frank I have never considered this as a parameter for my making, and it is wonderfully odd!
You are a versatile artist and over these years you have gained the ability to cross from one medium to another: your approach reveals an incessant search of an organic symbiosis between a variety of viewpoints. The results convey together a coherent sense of unity, that rejects any conventional classification. While walking our readers through your process, we would like to ask you if you have you ever happened to realize that such multidisciplinary approach is the only way to express and convey the idea you explore.
The symbiosis you very cleverly picked up, I would define as synergy of methods, methodologies, and frameworks. My work aims to understand and create an index of the shared vocabulary that ontologically shape a spatial practice that is both architecturalised and artistic. I fear the term multidisciplinary is somehow commodified to frame such a practice and I would not necessarily be interested to explore where one domain starts where the other ends, although I consciously return to Kristeva and Rendell with regards to the interdisciplinary. On the contrary I focus on the temporality of the union that the domains offer when tangent or colliding to create space. As my methodology is investing on the power of multiplicity and the allowance for something to occur, it would be contradictory to admit to the singularity of my approach. By default, multidisciplinary implies more than one domain – therefore more than one approach – and this is the magnificence of scholarly infused artistic practice; to create distinctive output establishing methods that can be widely embraced and applied.
We would start to focus on your artistic production beginning from Cryptopology, a stimulating cross-disciplinary and site-specific installation that our readers have started to get to know in the introductory pages of this article. What has at once captured our attention of your inquiry into the relationship between time and space is the way you provided your research with a dynamic and autonomous aesthetics and it ' s captivating. While walking our readers through the genesis of Cryptopology, would you shed light to your main source of inspirations? In particular, did you conceive it on an instinctive way or did you rather structure your process in order to reach the right balance?
For me, there is no time and space in the empirical reading of an experience; rather the spatiotemporal occurrence of the latter. The installation was primarily part of a large research project, sponsored by the University for the Creative Arts and endorsed by Recreate under the European Cross-border Cooperation Programme INTERREG IVA France( Channel) England. Cryptopology was conceived as experimentation by intervention in response to the site – The Crypt of St. Pancras Church, in London and aimed to manifest in practice the key theoretical treatise of my PhD; namely the axioms of