ART Habens Art Review // Special Issue

Page 42

Georgios GreeKalo In my fine art practice, since 1999, I have used different materials and a mixture of techniques. Experimenting on sound and light has been a major part of my artistic development. The challenges of my early work(s) in oil and acrylic painting helped me realised that painting was not the medium I was interested to work with. As a result, I engaged with what I found fascinating in my surroundings, day-life materials. My work experience in metal construction and iron buildings was a major influence, leading to artworks where I combine a multitude of materials with construction chemicals and various techniques ‘Man and nature’ as well as ‘life and death’ were long-lasting topics of this experimental period of my life, which I named "11". Ten years later, I decided to make a self-portrait, choosing to cut Gainsborough's "blue boy" (c 1770) from an embroidery pattern and use it as my portrait behind a big, framed and chemically cleaned mirror. Despite the impressive result, something was missing from the painted background, with the boy standing in the middle and all behind the surface of the mirror! It took me a few months staring at it to realise that lighting was essential for completing my new creation. This realisation signaled the beginning of my artistic period called "6". The use of sound, videos, small screens and any type of lighting extended my limits and opened the doors of my artistic imagination. From the beginning of my studies in art at the University of Westminster, sound clip installations became my main preoccupation. Rotating machines and moving parts added on to my list of mediums and eventually, a theatrical result came up through my exploration in the field of installations. Comparing the "11" period and its mixed media artworks and all the sound clip installations of period "6", I find them equally powerful and interrelated. Even though their temporal duration was disproportionate, they brought me stability as an artist and selfconfidence to progress to my present art practice, the stainless steel sound-sculptures. The "S" project is drawing demarcate a completely different artistic period despite marked connections with my artistic past. The "6" period made me realise that sound is extremely important to me as it links memories, supports all visual incentives and gives vibrations to people’s souls. This is the reason why I am using a special sound vibrator in my sculptures, which turns the metal surface of the sculptures into a massive speaker. The subtle vibration on my sculptures is meant to be visible with a naked eye, aiming to connect the vibrated sculpture with the viewers’ internal and emotional vibrations. The "S" project was initially inspired by the ancient Greek pottery and its two dimensional figurative representation of daily life. My extensive research on classical Greek sculptures of the same period and Parthenon's pediments has furthered my artistic idea and professional development. Day-life materials captivated my interest as a young boy and as an artist in later years. Nonetheless, I now realise that once you choose a specific material, the stability you feel allows you to expand your limits and boost your artistic imagination. I hold this feeling in the making of my next sculpture or artistic furniture, planning and organising out-door installations and street art, and more boldly, in contemplating the creation of massive sound clip installations with special lighting and kinetic parts from stainless steel.

No 5, stainless steel, sound vibrator speaker, 235X120X

Georgios GreeKalogerakis

Special Issue

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