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