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How is to tell what is good or bad? What is the criterion and how do I select the idea for the next work?
It’s quite simple, if my inner voice isn’t moved by the idea, if I don’t believe in it with my whole heart, no matter how good it may be to others, it is just fake, not true for me. That is the only criterion! It should be meaningful to me in any way. And that is sometimes beyond technique. I apply different techniques to get closer to my inner being, to rise spiritually and intellectually, such as butoh, sound and body art I learn at workshops, elements of physical theatre or classical theatre, etc. For now I don’t base my works on mere technique, that is, it is not the point I start to create or where my inspiration lies, rather, I am moved by the idea on an intellectual and emotional level. The idea brings me to the possible ways of realization of the same. In the future I would like to experiment more with techniques, though, learning about new techniques so that I can integrate them in my further work. There is still much to learn.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I believe that both the emotional and the intellectual perception are crucial in the creation of art, sometimes one outweighs the other and it eliminates it or lessens its importance, but both are present to a certain extent. Once my emotions make me create something, another time I am led by my intellectual perception and more conscious process of creation. Yet most of the time these two appear in combination as a source of inspiration. It also frequently happens that the idea appears as a form of sensation or intuition, but as I start working out the concept, the intellectual side dominates, since it gets more diverse connotations and allusions in terms of history, culture, social studies, etc. Similarly, I apply the idea on a wider field which requires intellectual perception and considering, even careful planning and poignancy. I believe that these two kinds of perception intermingle, one can focus more on the intellectual aspect of the work, while others tend to appreciate more the emotional side of it,− it’s all a matter of perception. As such, it is hard to be separated since we both consider the intellectual and emotional side, and art should stimulate both, in my view. Sometimes I consider the viewing experience, the reception of a certain work, yet most of the time I let my inner voice, emotions, intuition, and intellect create something I feel immersed in, intrigued or fascinated by, and carried away with, so it’s up to the audience if they are willing to go along with it or not.
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 (media, technique) is used in a particular context?
To a certain extent I just create something where I can express myself, but at the same time I don’t leave it unnoticed how it is reflected or what kind of reactions it may evoke on the part of the audience. It is not a crucial component but it does matter after all, since my goal with any performance is to share with someone, to reach out to people, to get my ideas across. My decision-making surely takes the target audience into account but I wouldn’t mark it as primary interest. As I said, I see it as my internal journey shared with others. By a particular performance inspired by a particular subject or created for a certain festival or project, I invite whoever is willing to join me on the journey. Sometimes or most of the time I don’t know my audience or it is miscellaneous. I adjust my performances more to the occasion itself in terms of language (the medium) I use rather than audience reception. I am more like, let it be! I try to incorporate various techniques I learnt and am familiar with in the performance, and when it comes to media I am also exploring new ways to enrich my work making it more diverse. I am truly interested in creating interactive performances, since I myself find such art thrilling and intriguing which is of immersive nature. This is how it becomes more personal for the viewer, and as a consequence a more direct contact is achieved.
Thanks a lot for your time and for sharing your thoughts, Edina. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
As for my future projects, I have a couple of projects in the backburner which still needed to be realized and developed. A project I have already proposed to a festival is called The Rising Path of Woman where I explore the role of a woman generally speaking and me as an individual and a representative of the class of women. I am exploring the effect of bodily fluids on certain life periods, that what fluids are dominant and how they affect the growth of the individual. In the future I would like to focus more on the creation of performances and the integration of new techniques and media in them. I wish to create more multimedia performances, to perform at various places such as the street, festivals and theatres, and to create interactive performances and workshops. I would definitely like to cover more countries and continents and to find a group to create with and who has similar affiliations. Similarly, I would be more than satisfied to include others in my work as participants. Besides my own projects and performances, I participate in different collaborations, for instance in a week’s time I am taking part in a project called Blind Fields (created by Šivinjski Danijel) where the artists of different fields of art (such as painting, performance, music, etc.) explore nature and their art blindfolded. Another project is Marko Nektan’s project of 365 day butoh performance creation, which based on a concept to create a performance in the frame of butoh every single day for a year. I will join him one day to get our creative energies united. This year I would like to apply for a Master’s programme in Belin for Solo/ Dance/ Authorship to acquire more theoretical and practical knowledge about various forms, and the rest is…
What is for sure, I look forward to any single day to come so that I can make art of it by creating performances and in any other ways. Art is everywhere, though is a commonplace, it’s true, but what we use it for is really the question.
erformance and anything created should have more general reference by addressing people. The idea, feeling, thought, problem, in one word the message should get through the audience via, in this case, performance. Currently I use this way of expression because I find it the most effective, flexible and extendable, which can involve a wide range of other elements and topics, practically of any other forms of art. There are no limits as far as its form is concerned, thus it is problematic but provides freedom.
When it comes to memory, I both use personal and collective memory relying on my previous studies of literature, social studies and psychology, but because I think that our experiences are unable to be translated faithfully and to the fullest, it’s inevitable to rely on memory in that process. Personal experience and memory are intertwined, so I wouldn’t and couldn’t separate the two. Memory or personal experience is just one factor in the starting of the creative process, which can be the offset and frequently it definitely is, but not as a rule. It’s not a criterion or by no means is it a guarantee for success either. Rather, I tend to listen to the inner voice, intuitively I feel what I would like to express. It also happens that the topic is already given for the production, so my task is to reshape it and filter it through the prism of personal experience, colored with feelings. Though memory itself is not reliable and cannot reflect reality and personal experiences without fault, it does not so relevant in the creation, only if it has memory as its main topic. I find it almost impossible to create art isolated from my inner world, which personal experience and memory are integral part of. So art as being intertwined with all these aspects cannot go without them either.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
The only rule is to be present, which is easily achieved with me at the moment of creation. The point is to push my limits, constraints of the individual or the society. Of course, there are certain limitations of space, financial matters, or time but I try not to set any other constraints. This is the exact reason why I choose performance as my main artistic expression, beside free verse. There I can be completely free and additionally I am able to share it with others, which is a powerful thought indeed. The rule is not to create art only for art’s sake; by embracing the aesthetic aspects of creation any artwork I create should make sense, at least in my head (and heart).