LandE scape
Maya Gelfman
CONTEMPORARY ART REVIEW
stage process I hope the viewer leaves the work but still remembers it.
Another interesting series that has impressed us and on which we would like to spend some words is entitled Lost Piers, in which you have inquired into the loss and death of the landscape: while encapsulating elements from reality, this body of works captures non-sharpness and its dream like quality brings to a new level of significance the elusive still ubiquitous relationship between time and memory. What is the role of memory in your process?
I lived in Folkestone for 3 years and I didn’ t even know that it once had a pier until I saw an old postcard. As soon as I saw this I rushed down to the seafront and stood where the pier would have been. The pier wasn’ t there, but I had to imagine it. In imagining it, I placed myself on the pier, walking on the water. This particular series is about absence and presence. I believe with absence comes greater presence.
Unveiling the relationship between beauty and death, One last view puts the viewers in the shoes of the suicidal, providing them with an intense, immersive experience: how do you see the relationship between public sphere and the role of art in public space? In particular, how much do you consider the immersive nature of the viewing experience?
I want to get the viewers interest straightaway, but also I want to hold their attention for a long time, to really
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