curated by Marina Christodoulidou
NiMAC, Nicosia 2019
The different components all have to interface smoothly presents a group of triangular plaster bodies with incorporated metal guts, that were created on the juncture where the artist’s studio back wall met the floor. The tubular form of the guts, is externalise into a linear galvanised structure that takes its form through an exercise of balance and proprioception.
‘Curiosity' has been roaming the surface of Mars since 2012, is formed by three tubular sculptures which roam and gather their galvanised bodies, to compose a pack. Through seemingly static videos, hybrid relationships of information are shared as surface tensions, that behold a timeless action and reveal an unworldly choreography of diverse elements.
plaster bodies - metal guts
action field: the juncture where the studio back wall meets its floor
plastered and tubed / a triangular body logic
a tubular structure stretching its galvanised body into space:
a host, a platform, a field
-he had interfaced all this machinery with a master computer
-the surface tension of a liquid at its air/liquid interface.
-the man machine interface
-an oil-water interface
orbiting debris floating stone ceramic skin
three tubular creatures roaming their galvanised bodies into space:
a pack of primal exploration rovers on the search for parallel micro universes
more roaming creatures:
-tigers once roamed over most of Asia
-‘Curiosity’ has been roaming the surface of Mars since 2012, sending back copious amounts of images, fordata scientists to wade through
Featuring photography, film, sculpture, sound, text, installations, and spatial compositions, the exhibition evolves around the concept of the surface, foregrounding its inherent presence in the work of the artists.
According to the curator, Surface is understood here as a site of emergence, where material and conceptual exchanges enable artists to articulate thoughts. It stands as the most directly apparent aspect of our environment, material or immaterial, and emerges, hence, as a process of becoming perceptible. The state of being hyper, on the other hand, presupposes a mode of over-being. And when it meets the surface, the hyper opens up to possibilities beyond materiality and signification.”
Taking the notion of the hypersurface as a starting point, the exhibition sets out to explore the prospects that arise when one witnesses an event or a process of anticipation. To do so, the artists have posited the hypersurface in their own areas of interest and research, and delved into subjects ranging from natural and urban landscapes to autobiographical and imaginary relationships, material and immaterial studies, fact and fiction. Hence, the works presented in the exhibition are both a response to and—in many ways—a reverberation of the concept of the hypersurface.