Page 106

LandEscape 106

Monika Szpener

Art Review

has had its culmination point with the birth and death of Christ and is leading us to the end of time. The time embodied in my realizations is of different nature. It is not a functional time, as the (fixed) functionality is one of the concepts that I oppose the most. The time that you can find in my artistic practice is the time lived, experienced and embodied. It is the time of being and not only doing/ using/ going to. However, it is important to stress that this time of being is not immobile and mute. The being to which I refer is not of Platonic nature, absolute, universal and immobile, but it is a living being, a being that is embodied and so: changeable, relational, transformable. Then, trying to understand my art, you cannot only read it, trace semantic trails in order to get to the one, right point. You have to feel it, integrally, as it was said many times: integrally, with your body, senses, emotions and mind. There is no one definition and no functional aim of my pieces, what does not mean that they are contingent. They are and are not. They are deliberately paradoxical, as the paradoxes are liberating, also for the time: due to them the time is liberated from the service to functionalism and comes back to our multilayered experience. € Multidisciplinarity is a crucial aspect of your art practice and you seem to be in an incessant search of an organic, almost intimate symbiosis between several disciplines, ranging from Sculpture and Video: have you ever happened to realize that a symbiosis between different disciplines is the only way to achieve some results, to express some concepts? € Closing oneself into a defined frames and the use of only one kind of material can be considered as reductive for an artistic

practice, however in my opinion it is the reason to deeply investigate one plastic, artistic area. Drawing from a defined source allows to specialize in a concrete area, as it opens new paths both technological – related to new media – and mental ones. It helps in construction of artistic posture and a specific relation to the world open for various possibilities. I am of the opinion, as McLuhan was stressing, that the interdisciplinary symbiosis is inevitable and – furthermore – it is developing our synesthetic experience, which transforms a human and their way of functioning in the world. € During the se years your works have been exhbited in several occasions, both in Poland and abroad: so, before taking leave from this interesting conversation I would like to pose a a question about the nature of the relation with your audience. Do you consider the issue of audience reception as being a crucial component of your decisionmaking process in terms of what type of language for a particular context? € Definitely. Today, everyone expects quick and clear information. They are bored with too complicated message and does not want to take excessive lengths to get the answer they need. They also reluctantly decides to visit a gallery. Often the question about the reasons for doing so comes the reply of the ordinary lack of time and will. Therefore, one of the primary objectives of my project was to go out there with the exhibition into the urban space, or generally public space. The city has its own characteristics defined by its functionality and architecture. People moving along it are not inclined to pick up the message associated with the art. Thus, the response to a piece encountered is clean and more authentic, expressed with emotions amplified by curiosity. According to

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LandEscape Art Review - Anniversary Edition 2015  

LandEscape Art Review - Anniversary Edition 2015  

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