Mapping Europe
Every city has a peculiar way in which people let them self-flow through it. The city is organic, and despite its rigid architectonic construction materials, it is a lively and constant changeable structure. Streets do not, but it is us who move around and construct the concrete. If we think of any city that lives on the river/sea sides, the unmovable city structure is, in fact, internally subtly moved by the river/sea waters’ force.
There, where life exists, is where life places itself, in the essential source of life. Cities’ activity is associated to the flowing water, people just like water come and go, strive and surrender to the perceptible and routinely passing-by liquid. Artworks based on cities are patterns in themselves, organic structures that re-present, re-invent or re-interpret the meaning of geo-graphical location and cultural icons.
When I am immersed in interventions in public space, my interests are centred in: the communicative process that is originated by the change I am introducing into the space, and how this new state is appreciated and understood by passers-by. I am interested in opening the artwork in every single stage of its creative process, and making its translation process the piece of art in itself. Thus I personally trust the essence of the piece of art to the conceptual and cognitive developing process, it is its accurate translation into a physical/virtual space what confers it the state of ART. During the active process on public space, there is normally always a positive and curious feedback from passers-by, and although I would desire more intervention I feel rewarded by their interest. It is because of them that I expose the creative process in the public space, for them to be part of the essential developing process and construction of art language.
In the creative process the most reliable witness is the photographic lens of my digital eye. It allows me to capture and preserve instants and the immediacy of creative actions. The piece has been produced moment-by-moment, and perceived as such by the open public space and its constantly moving population. The passers-by witness the in-production piece, while I audio-visually document and capture the process.
Having the option of communicating to others my personal perception of the world and internal conceptual thinking in a subtle way is the best part of being a creative producer. The fact of creating an arena where others can search and project themselves onto it, a place where to identify and recognize their own thoughts and concepts, makes of the piece of art a communicative and participative development environment. After an unspecific period of time, the new city becomes HOME, and its environment the place where to discover new artistic expressions.
