Core
Embodiment
barebones with pants
in the body
blind contour spine drawing with x- ray
skeletal
I cary my father's memories in my bones
spine profile drawing on x=ray
felt sense in a good day
swimming pelvis
Altre opere
visceral and skeletal
blind contour spine drawing
study of ribcage and pelvis
my ribcage and my pelvis
liquid imprint
spine imprint
pelvis- bird view
Pelvis study
Pelvis drawing
Ribcage study
Ribcage study- front
x-ray with lines
studies of pelvic area
tactile drawing of my spine
study of shoulder bones
study of pelvis, femur and knee
spine line drawing
sketchbook skelletal study of the spine
Sketchbook anatomical study of the cervical spine
my shadow-graphical spine
my working studio wall
my study studio wall
bare bones
December 21- 2016:
I am writing as the deadline for submitting the work is looming. I want to thank the opportunity I got from Celeste Network to explore my new project in a safe and supportive environment.The journey I had embarked on for this project turned out to be a personal and reviling one.
In September I started to investigate the universal mind-body dichotomy. I was interested in the correlation between the Material body and the Idea of the body, in the collision and collusion between perception and experience.
I chose to explore the theme through visual investigation of my own body, as I started experiencing pain in my spine. I have come to realize that in order to achieve the sense of physical freedom in my daily movement I have to understand the particularity of my skeletal structure, and that for a holistic 'understanding' of the material body both the experience and the perception of ones own body are necessary.
Hence my work combines experiential tactile approaches with more analytical scientific ones; some drawing are studies from scientific anatomy books, and x-ray images of my own spine, others are blind contour tactile drawings and imprints of my concrete body.
In November I had a profound experience that changed the course of my work. I was invited to visit Sombor, a town in the province of Voivodina in Serbia. It is my father home town. He spent there the first nine years of his life. This is the town from which he was deported to Auschwits. The town commemorated the story my family through an exhibition, there I found the deportation card of my father.
Upon my return I began to explore the correlation between the body and memory, examining how the collective memory and familial history affect the body. In 'I carry my father's memories in my bones' I am working on understanding how his personal story affected the way I carry my physical self through life.
while working on this piece I found myself in a heavy somber mood. The works ' skeletal an visceral' and 'felt sense in a good day ' are a lighter antidote to that.
The deadline for this project does not indicate by any means the end of my thematic journey. I am looking forward to exploring the body in movement with a time base technology, as I gain clarity around the notion of 'fixing' and 'aligning' our body to still position- there is no real stillness in life, we are always in flux.
I am writing as the deadline for submitting the work is looming. I want to thank the opportunity I got from Celeste Network to explore my new project in a safe and supportive environment.The journey I had embarked on for this project turned out to be a personal and reviling one.
In September I started to investigate the universal mind-body dichotomy. I was interested in the correlation between the Material body and the Idea of the body, in the collision and collusion between perception and experience.
I chose to explore the theme through visual investigation of my own body, as I started experiencing pain in my spine. I have come to realize that in order to achieve the sense of physical freedom in my daily movement I have to understand the particularity of my skeletal structure, and that for a holistic 'understanding' of the material body both the experience and the perception of ones own body are necessary.
Hence my work combines experiential tactile approaches with more analytical scientific ones; some drawing are studies from scientific anatomy books, and x-ray images of my own spine, others are blind contour tactile drawings and imprints of my concrete body.
In November I had a profound experience that changed the course of my work. I was invited to visit Sombor, a town in the province of Voivodina in Serbia. It is my father home town. He spent there the first nine years of his life. This is the town from which he was deported to Auschwits. The town commemorated the story my family through an exhibition, there I found the deportation card of my father.
Upon my return I began to explore the correlation between the body and memory, examining how the collective memory and familial history affect the body. In 'I carry my father's memories in my bones' I am working on understanding how his personal story affected the way I carry my physical self through life.
while working on this piece I found myself in a heavy somber mood. The works ' skeletal an visceral' and 'felt sense in a good day ' are a lighter antidote to that.
The deadline for this project does not indicate by any means the end of my thematic journey. I am looking forward to exploring the body in movement with a time base technology, as I gain clarity around the notion of 'fixing' and 'aligning' our body to still position- there is no real stillness in life, we are always in flux.
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