passing of time the circles are closed , and the dialog between the media reaches an equilibrium , if everything works of course . The balance is achieved through the continuous work of adding and subtracting , as the two sculptural techniques applied simultaneously . It has been thus for NO GUESS and for all projects that i affront with this spirit .
What mostly appeals us of NO GUESS is the way your inquiry into the relationship between environment and human presence reminds of the notion of non lieu , elaborated by French anthropologist Marc Augé : the hybrid feature that marks out NO GUESS and your work in general allows you to accomplish the difficult task of balancing rhyhtm and evokative reminders : this aspect of your practice seems to reflect your fascination for continuous transformation processes and draws the readers into a multilayered experience . So we would take this occasion to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process ... Do you think that a creative process could be disconnected from direct experience ?
The life is done of shades and through the experience we learn a way to interpret the shadings . I believe that the creative process is absolutely an unit that works better if the experiences became a fuel . Simple experiences or complex , direct or indirect , doesn ' t matter . The experience is a spark that creates a series of inner events , and they form the thought itself .
The strongest is the experience lived and direct . Then for example we can read of other ' s experiences and also this fact forms the thought , but it is a different thing because it has the power to