Land scape
Spyros Kouvaras
CONTEMPORARY ART REVIEW
personal experience makes you create a work . When a creative process starts , it is already an experience of the present . When I work on a project , my mental connection with the materials that I use ( bodies , sound , objects ) already creates a new experience condition . I never start to create with an idea with a specific experience , I prefer to start pure , just using my main material which is the body , or the bodies of the dancers and the scenic space and its installation . In my collaboration with art @ CMS - program of the CMS Experiment at CERN - when I created « 10^ -22 sec », there was not a direct experience during the creation process at all . I mean what experiences could we have on Higgs boson ? When I created « L ’ Isolement dans un Space Infini », the experience was more direct than in my other works , it could happen , but even in this performance , the personal experience wasn ' t the starting point of the creation , it came after the pure experimentation of the form between body , movement and the costume material that I used .
You have remarked the importance of abstraction where its strength consists on the intensity between human subject and visual object : while exhibiting a captivating vibrancy , your process seems to reject an explicit explanatory strategy : rather , you seem to invite the viewer to find personal interpretations to the feelings that you convey into your pieces . How do representation and a tendency towards abstraction find their balance in your work ?
My performances do not tell a story , I defined realism in art many years ago . The scenic installations that always make up the starting point of the global composition are characterized by the creation of timeless spaces , by the creation of situations and fields which are interpreted more by the unconscious and less by the logic . I am more interested in searching an organic point of meeting between the performers-dancers and the audience . For example , in my work , « OPUS I # temporality », the choreography with its slowness and its gradual development , suggests to the viewers a situation of « waiting », where the form is captured easily . As the images change , the relation between space , duration and movement grow strongly and the viewers are able to get to it in their own way . As Olafur Eliasson said , we have to trust the abstraction …
Your performances have on the surface , a seductive beauty : at the same time , playing with the dichotomy between logic and emotion , they challenge the viewers ' perceptual parameters-