Land scape
Liana Psarologaki
CONTEMPORARY ART REVIEW
immersive experience. The process started with a primary visit and a first round of sketch-diagrams, to continue with long testing in studio and in situ. I am afraid in doctoral research there is very little left in intuition and I have always followed a solid rationale in making, however a challenging site as such always imposes more than it affords and the work always takes its final shape in-situ and literally hours before the opening. This is expected and part of the methodological ramifications already explored, still therefore less instinctive.
The ambience you created for Cryptopology stems from a careful combination of light, sound, smell and temperature: we like the way you capture non-sharpness with a universal kind of language, capable of bringing to a new level of significance the elusive still ubiquitous relationship between experience and memory. So we would take this occasion to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?
I am a passionate supporter of empiricism and I feel my work follows the pattern. We live and create within the same social constructs; there is no significant topological differentiation between an everyday practice and an art practice. I understand this may appear radical for a part of your audience who defend the polarities of art and life. The differentiation and perhaps discontinuity between two separated processes concentrates on the role of the experiencing mind( and subject) as space maker or space consumer. The maker triggers the spatial consciousness of