Documenta 14/Elective Affinities ASFA and open studios
Coordinator: Arnisa Zego
What kind of book is this ?
In August 1948, at a radio show, Mister John Hayward said that Eliot’s poem Waste Land, is not about a real girl but the sculpture of a girl, who Eliot searched in vain at a museum in Italy. If this is true, what difference does it make to us? To the story?
Everything around us tells a story. As an artist, you have to choose which one to tell, and then how you are going to tell it.
In this small scale wall-mounted installation, I chose to interact with both my literary and artistic inspirations. I am borrowing Goya’s palette of colours and some of his earlier painting techniques and I use the poem Waste Land by T.S Eliot to breathe life to the symbols and meaning in each of these seven works- which in reality, can only be seen as One.
The idea of Ulises Carrión, a Mexican artist who used painters’ notebooks as works of art that can stand by themselves, and my close interaction with his work during Documenta 14 in Athens -in which I was part of the education programme (team elective affinities)- has helped me to formulate better my idea of using blocks of wood which are shaped like books as my canvases. Also, a show that took place in EleftheriaTseliouGallery in Athens based on David Sampethai’sidea, had the same concept: Notebooks by artists, which can stand as their own artworks. The notebooks included paintings, scribbles, ideas and, in general, the mind of each artist in progress.
The purpose is to explore the ways in which the medium an artists chooses to interact with might potentially confine his creativity and artistic exoression. The representative image that the audience seeks a meaning from, is not always the preferable way of the creator. The book-blocks here, are used in order to capture that fleeting moment when a story leaves the creator and becomes part of something else. It becomes, everyone’s story.
This journey, from the protected environment of the artist’s house (here the word house stands for the environment the artist creates in) to the violent presentation to the public eye, is what I am asked to answer, and I can only answer it with another question, which stands up gargantuan.
Can the security of the allowed madness an artist can go to in order to create be transferred purely to the opinionated audience, which will, most definitely, translate it to their own personal meaning? If so, what is the obligation of the artist relating to his artwork?