Sunday, February 13, 2011

Site-specific work


Containing blue (2011)

The ‘specific art object’ for the most part in the historical context undisputedly occupied a traditional gallery space or museum. The concern with materials or non-materials – particularly relatively formless materials – has the effect of inducing reflection upon the ‘containers’ which confer form upon them. Principal among these is the gallery space - the official arena in which normally all exhibits displayed are attributed with the status of an art object. But once the gallery itself became highlighted as constitutive of the work, rather than a neutral factor undeserving of attention, the possibility arose of making art which questions further the conventions of spectatorship. The possibility of installing or showing the work outside the gallery generated discussions upon the conditions of encounters with artworks. This was the origin of Land Art and site-specific sculpture.

In site-specificity, the work of art appears to merge physically into its setting and appears embedded in the place where observers encounter it. Site-specific artworks are impermanent, installed in particular locations for a limited duration. These become the emblem of transience and the ephemerality of all phenomena. Because of their impermanence, moreover, site-specific artworks are frequently ‘preserved’ only in photographs. This fact is important, for it suggests the allegorical potential of photography. The appreciation of the transience of things becomes itself a concern about the rescue of ephemeral constituents for eternity. As an allegorical art, then, photography is capable of representing our desire to fix the transitory in a stable and stabilising image.

Most of my site-specific installations are created and documented on seashores. These are ideal places which, when devoid of human activity, can reward the solitary visitors with a sublime visual experience that merges the earthly with the divine. The sea and the sky, with the horizon acting as their intermediate, appear to question the Earth’s substance. My actions are simple interventions with the use of simple objects. While acknowledging that the ‘absolute beauty’ is already manifested in the surroundings, the installations are meant to complement the ‘cosmic’ harmony that materialises in the unified oneness of the sky and the sea. Apart from the utilisation of natural objects found on site, common commercial artefacts are often included in my visual language – open containers, the purpose of which is to contain liquids or objects within their limited capacity. These recipients are placed facing the sea, which becomes a suggestive backdrop representing the infinite and the divine constituents of Nature. Due to their impermanence, the works are documented through photography. In most cases, the editing of photographic works is kept to the minimum in order to avoid extra embellishments. While showing an affinity with Land Art and Conceptual Art, the nature of my work remains predominantly symbolic… and allegorical, in the same way as its documentation.

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