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