Some notes on the \u2018Dolls\u2019<\/b><\/p>\n
Especially if academically trained, one can forget that the artistic production is a course of \u2018play\u2019. You start to take the occurrence of the process more serious than the flow of the game and forget that to play is actually a serious matter. At least for me, this has been the case.<\/p>\n
Concerning beginnings and endings, and these not only in art but under all circumstances, I believe that we are in a transition period.\u00a0 In this context it is possible to feel deeply \u2018in- between\u2019, to be unable enduring the \u2018indeterminate\u2019, to embrace the \u2018familiar\u2019 or, on the contrary, to let yourself into the void of \u2018no authority\u2019.<\/p>\n
As someone stuck in this in- between I experience beginnings and endings from a completely personal viewpoint . It has been a transforming inception for me to remember the existence of \u2018game\u2019. During this transformation I started to create work that leaves composition behind and gives space to improvisation.<\/p>\n
Stepping out of my academically trained discipline of painting enables me to meet new materials. I let them lead me wherever they go. Yet as soon as I master a material I voluntarily glide towards other forms, which oblige me to experience the\u00a0 difficulties of amateurism. I learn that banal materials (a fabric, a string) have endless and joyous possibilities. I think I will keep on learning.<\/p>\n
Why \u2018doll\u2019? I do not know. I have no prior relation to sewing.<\/p>\n
Until recent times, I thoroughly believed that art had to have a stance that belongs directly to socio- political conditions. This conviction has changed when, in a harsh way, I came to understand that a human being is a human being, regardless under which socio- political circumstance.<\/p>\n
Instead of forcing the viewer to take a specific side towards the works I aim to create a space where free association can exist. As a consequence I have eliminated during the preparations all excess of the installation. I planned a non-classical yet direct presentation.<\/p>\n
The dramatic atmosphere that is created for the installation can be seen as a continuity of the imaginary background I used to put the works on while producing them. It also can be perceived as a decision independent from the creations and rather as an odd interpretation I added once I was no longer part of the works. Hence the atmosphere belongs to me but the works don\u2019t have to belong to the atmosphere.<\/p>\n
I hope to agitate the viewer\u2019s need of touching; in other words to invite the viewer to play\u2026<\/p>\n
My works are results of an emotional process and not of a rational one\u2026 I can say that my dolls represent many states of existence or that they are the \u2018monsters\u2019 of our subconsciousness. Perhaps, going many steps further, each of them is a self portrait.<\/p>\n
Having departed from the human figure I arrived at metamorphic figures.<\/p>\n
My curiosity in human psychology and the intellectual knowledge I gathered about this topic during the production period of – yet independent from- my works are undoubtedly projected on the dolls. Nonetheless the \u2018making\u2019 evolved entirely instinctual. Therefore I don\u2019t find any textual or conceptual ground appropriate for them.<\/p>\n","protected":false},"excerpt":{"rendered":"
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