This piece is at last finished after two months of hard work, be it in my house, at the coffee shop or sometimes even in the office. I feel relieved and scared at the same time....
Telling the process of how I made this piece, thinking of what and to what purpose is very important for me. Because I dont want it to become a piece of art hung on a gallery next to hundreds of others rendering it worthless for a second glance. In a gallery, museum, shop or even a supermarket, nobody there, can tell you the story, the process, of the hard work, the labor stored piece by piece, day by day and embedded in the final object. As David Harvey puts it, any trace of origin of the labor processes that produced them, or the social relations implicated in their production is perfectly concealed. Therefore how can you feel any kind of attachment, affect or connection with something that is torn out of its context, original place and time, be it a whole temple carried thousands of miles to be displayed in a remote museum, or the whole museum of Louvre, displaying a collection of the worlds finest stolen objects of art, served for thousands of tourists precariously? These spectacle architectural space are designed in order to satisfy our needs in response to minimal effort.
Anyway back to my painting.... The scene is about an extreme habitation outpost in a deep valley surrounded by snowy mountains. The atmosphere is extremely volatile with strong winds, hail and frost on the upper places. Architecturally it is an assemble of ,dispersed outpost habitation structures on the middle ground,a temple like structure on the left side, carved into the very rocks and one vertical, the other horizontal, transportation hubs, binding different functions together.
Aesthetically I was attracted towards motorcycle, and airplane parts and pieces, (and I used them in my painting) in my building forms, since first of all they are as dynamic and fluent as my landscape and secondly these whole structures are themselves parts of disassembled, scattered and later, deployed parts of nomadic aerial ships.
These spaces of mobile architecture are seamlessly diffused and melted into an extremely volatile and prone landscape, for the purpose of pulling their inhabitants from their cozy and warm seats where they are overloaded and imploding from an endless, relentless stream of visual imagery, and plunge them headlong into frosty waves and currents of material confrontations. Only then I believe they can realize their latent potentials.
The people I imagined occupying these spaces of flight, greatly reminded me of the Replicants in the movie Blade Runner. Replicants are designed as perfect laborers to work on the frontiers of space exploration, endowed with special talents. However as a result of their superior capabilities, their life span is reduced to four years. But during that duration, as Harvey puts it, they move across a breadth of space with a fluidity that gains them an immense fund of experience. Because of the intensity with which they burn and flow in time, they live half as long.
Therefore the spaces I have designed and drawn doesnt matter much in thought and action, since the most important thing is how you build it, occupy it, inhabit it, to what purpose? What kind of social interactions, material events, do the spaces engender and set in motion?
These people of flight, are relieved from a world of creative self destruction, where nature and as a consequence man (which is a part of nature), is seen as a force to be conquered, regulated, tamed and attuned towards a predictable perfect machine of endless production,,,, towards a space of hope where tangible bodies are connected and attached with nature through material confrontrations, currents and affects.
For the first time nature becomes purely an object for human kind, purely a matter of utility, ceases to be recognized as a power for itself, and the theoretical discovery of its autonomous laws appears merely as a ruse so as to subjugate it to human needs. Capital derives beyond national barriers and prejudices as much as beyond nature worship, as well as all traditional, confined, complacent and encrusted satisfactions of present needs and reproduction of old ways of life.