Crossing borders (2020) explores the threshold between organic and choreographed movement. As I gradually collapse to the floor I am holding a white rose between my teeth and a sharp knife close to my back. Crow ling becomes a difficult mission as I pass through the gaps left by the participants. Once arrived to the final destination, I attempt the impossible: to divide the water full of sparse rose petals inside the bucket.
Footage of this video was collected during the summer of 2010 in the Greek island of Lefkada and in a village of fishers near Volos (northern Greece). During my permanence in this area, I walked around and visited places like shipyards now abandoned that I have heard contain strong emotions of melancholy and tragedy. The video adds a pinch of humor when necessary, through the focus on individual elements always filmed in their natural context.
With this work I would like to make a portrait of Greece, focusing mainly in rural than in urban landscapes.
I am laying on the floor and the camera is shooting from above. This permits to perceive the performer’s movements as floating in the surface or even sink under the floor.
I move in interaction with the music (Murcof) now in contra tempo, now together, creating a dialectical relationship among movement and music.
I work with this music piece because it contains many pauses. I focus into the unfolding of a process, inquiring why breaks are included, which is their extent and organic reasoning. My observation of nature has lead me to notice the pattern “action-pause-action” and it is clear that in music pause is synonym of silence, but is it possible to make that exact analogy with dance? Can stillness represent silence?
Pauses are always necessary for the following action and in a way, they determine its character. How can the absence build the presence? Is absence a way of negative presence? Are they really separated or we cannot really divide them in our perception since why do not perceive time in its fragments but in its indivisibility (Bergson, 1994)?
Without is an sound installation project. The installation elaborates on the experience of solitude and isolation with reference to the lack of physicality which has been accentuated during the Covid-19 era. The piece wishes to reflect on the question marks, levels of despair and hopelessness that arose in each of us. The audio is in fact fragmented, intimate and melancholic. ‘Without’ would like to point out and interrogate the embodiment of the current situation by enlarging the absence of physical presence. ‘Without’ materializes the silent lament that we hear inside ourselves.
Formally, the installation is articulated as a succession/ promenade through 3 different rooms/ spaces. Each room includes an object with an audio system incorporated in them. Rooms should be as bare as possible and pretty spacious. Good audio system (audio speakers) is required in order to reach the visitor from all corners of the room.
The audio system is fixed in such a way that is invisible by the visitor. Sound comprises three separate audio files that alternate each other in a loop: hence the experience of the visitor is carefully crafted as a walk through those three rooms in a succession. In a way, the audio acts as a call/ invitation for the visitor to move on.
Audio has been edited by the artist and includes ambient sounds mixed out with HIVE vocal improvisation performance on ‘Lessness’ by Samuel Beckett (1970). Hive is an experimental choir based in Belfast SARC (Queens University) in which I take part. I am fascinated by the way Beckett in this piece adopts a non- linear way of a narration of the inner life of the character. The attempt is to create a delicate and fragile atmosphere around the visitor of the gallery space.