How can you make art in such a way that visual flux is neither homogenous or recognisable, but, instead, leaves room for interruptions and deviations that elicit dialectical exchanges with the development of existence and history, whose “discontinuity…permits the continuity of understanding (Maurice Blanchot)”.
Everything is confused and interwoven, like a Gordian Knot, made up of memories and archaeological strata, design and technology, craft and rapid transit, artifice and nature. What remains is the experience of disorder and unexpected combinations. The impermanence flows from all places and is filled with ruins and remnants, uncomposable things and unwonted textures, collisions of languages and events, in which form and rhythm cannot be contained in an orderly way.
Germano Celant, [1968 An Arte Povera / A Critical Art / An Iconoclastic Art / Knot Art 1985]
I am forever contemplating the art works I am making and attempting to find some sort of greater cohesiveness. Trying to decipher the map of my art practice in the chaos of multiple disparate dialogues between and within ideas and creative choices. (Process, materiality, transmateriality, formalist theories, assemblage, urbanisation, detritus, temporality, the mundane – to name but a few things)…
In terms of forming links and establishing narratives with the materials I use, I am trying to find my way to a convergence of a deconstructed and compartmentalised array of objects, artefacts and activities, and identify the greater subtexts and critical meanings encoded in these elements of interest.
I am trying to reconcile all these things, whether it will be as simple as some sort of non homogenised unification, or perhaps a more encompassing notion of plurality within art theories and practice.
Lora Nikolaeva Nikolova