Set Of Restriction Lines, 2009 (detail)
finalist BAZA Award , 2009
How do the specific gallery space and its conditions influence your work on the Exhibition in Progress. You are invited to come again! project?
The project treats the gallery space as a laboratory, as a ground for exploring the links between the process and the object, the object and space. A few stages of its rearrangement define its interactive nature. This places the exhibition in the temporal line of the present continuous tense and directs towards involvement in the materializing of the object. The transition evolves in the installation itself, which forms the object and at the same time the inner space of the object. The rearrangement of a material constant in quantity and quality changes the routes of perception.
What is your approach to the object connected to? How do you transform a certain object into a sculpture?
The wrappings I choose are abstract in form. Their anonymity is guaranteed by the lack of any advertising or financial value, which does not associate them with offering a specific product respectively. Free of their “previous life” they do not carry the signs of personal consumption. The changes in the contexts of their use, the material of their realization as well as the work with form itself, give meaning to its independence and uniqueness preserving traces of its industrial origin. Thus I create a new object using the qualities of the already existing one in a new way and leaving and individual mark which points at what is invisible in it.
What is the most important thing in your work as an artist?
I have been experimenting with the identification and reconsideration of the connection between the rational and the creative interfering in the logic of the complete form and the expressive character of the material. What is interesting to me is the contrast of the minimal, sensuous and imperfect interference in the explicit constructiveness of forms of a predominantly industrial origin. In that way I am changing their function, they are not used in the way they are supposed to be used.
Vaska Emanouilova Gallery owns a museum collection with works of the eminent Bulgarian sculptor and in that sense it is not an entirely neutral space. How does that influence your work?
In the context of the gallery presenting Vaska Emanouilova’s works I am interested in the systems for perceiving and creating an object of art. Through the rearrangement I aim at a dynamic presence and communicativeness of the object under creation, ambiguity of the situations and a dialogue with the environment. I use the trick of the continuous observation so that I cause the effect of a repeated research on one and the same situation. A research directed both towards the object I am creating and towards Vaska Emanouilova’s sculptures. Her works call for revelation and extension of the moment of intimacy with oneself. This charges them with a stunning individual presence.
Exhibited together they fill in and give meaning to space building up an independent web for perceiving the sculpture object. With my project I aim at interfering with that way of perception presenting the object itself as a series of shots with a certain duration. They follow each other into one continuously changing situation which creates a totally different space organization. In that sense the project rips up the feeling of closed intimate space created by the sculptures of the permanent exposition and fragments it showing that it is the result of a process and is not something presupposed.
What is personally your idea of the place and mission of the artist today?
It’s hard for me to answer that question. In that particular case the simultaneous co-existence of the permanent exposition and the projects of contemporary artists as a policy of Vaska Emanouilova Gallery should draw the attention to the results of such co-existence. To the way the heritage is used and yet to the experiment with the context and communication by means of other media. It seems to me that the exploration of the established links between the viewer and the work of art could change the already familiar phenomena. This is one of the possible ways of behaviour of an artist today.
Bora Petkova - Vladiya Mihaylova (Curator)
Vaska Emanuilova Gallery
18. 12. 2009 14:38:02
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