Spyros Kouvaras
Land scape
CONTEMPORARY ART REVIEW establishing a channel of communication between the conscious level and the subconscious sphere : artists are always interested in probing to see what is beneath the surface : maybe one of the roles of an artist could be to reveal unexpected sides of Nature , especially of our inner Nature ... what ' s your view about this ? In particular , do you think that your works could induce a process of selfreflection in the viewers ?
Synthesis is the most important element in my work : composition , structure , rhythm , and atmosphere . It is a co-existence in space and time through movement , image , sound and energy . Assuming that the energy of the visual work comes from the inner entity and diffuses outward , while we focus at the same time our attention on the moving bodies which are also pushed by an inner vibration outwards , we realize that these two energy lines pulsate . This fusion is realized in the « empty space » which is created between them and I think this « empty space » induces a process of selfreflection to each viewer …
One of the hallmarks of your work is the capability to create a direct involvement with the viewers , who are urged to evolve from a condition of mere spectatorship . So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience . Do you consider the issue of audience reception as being a crucial component of your decision-making process , in terms of what type of language is used in a particular context ?
What is more important to me is the orchestration of the space , the venue , where the choreography and the performance will be presented . This is important and affects the establishment of the project . It is quite different to work on a project for an exhibition room than for a theatrical context , although there is a clear line in my work no matter what the presentation framework is ( theater , public space , museum or gallery ). There are always common elements , for example , most of my works tend to be relatively « quiet », the sculpture naturalness of the body is always present , as well as the immobility that we acquire as performers-dancers , and the paradox of this choreographic immobility . What changes each time is the approach to the viewer , the duration of the project and the general idea if there is a clear start and end of the performance .
It ' s no doubt that collaborations as the one that you have established over these