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