the π+A Project is an alter reality created by the collaboration between the conscious mind and the obsessions of the artists A.L and P.A
The compositions become a kind of «hyper-object» since the individual images create a new one which transcends spatiotemporal specificity. A compilation of artworks, people, landscapes which as a separate unit carry the weight of each viewers cultural references and wealth of knowledge, come together to create a new intellectually interactive piece. The past folds on top of the present, coexisting and thus highlighting the motivations behind the image in front of us, showing us the intentions, the interests and the emotional states that they have probably caused from suffering to elation and joy.
The process of creation is a long and complex one. Photography captures the moment. Even the images of artworks, that I use in my compositions, are not the artworks themselves but instantaneous representations of them through photography. One of the most fascinating examples of that, is the image of thousands of people queuing in the Louvre to look at the empty wall where Mona Lisa used to stand before it was stolen. An image of people looking at where an artwork used to be.
Another characteristic of the compositions in regards to time is the way they transcend it. Similar to the night sky, what we are looking at right now is a composition of different moments of the past. One star shows us the moment 3.000.000 years ago, the other 250.000 etc And yet we stare at it as one, in one specific moment. The same goes for the collages.
It is also evident that the pictures are used as symbols and as hieroglyphics, a special language narrating my thoughts and ideas.
It is impossible to escape the political implications as a creative, sensitive human being. Issues of identity, sexuality, love, death are inherently political issues but I want to avoid preaching to the converted or simply showing my “progressive credentials”. The personal is political and vice versa (as it has been well established a long time ago).
Though I enjoy being provocative I don't want to do it for “provocation's sake” but rather use it as a way to get the viewer's attention and hopefully take him down an “emotional and intellectual journey”
Study for renovation of 19th century building
I tried to use elements from the period as well as traditional motifs from the local embroidery which is quite famous, in an abstract and contemporary version in order to belong in the area and not simply imitate different styles. For the floors I used special artificial ceramic pebbles, thus creating decorative mosaics. The greater part of the surface of the walls is with the old bricks still visible and they are decorated with bordures from the same motifs, printed on 5mm ceramic pannels or with panels which have printed images on them depending on the purpose of each room, respecting of course the colours used for the whole building. Several times I used geometrical shapes from Euclides' theories in an effort to make a connection with the Russian Avant-Garde and Malevich....(....)
The sacred temple of nature
(*Belongs to Ismail Ahmetov's collection. Moscow, Russia.)
Trying to compete or even recreate Nature, with its divine beauty and harmony would be a losing battle and that's why I wanted to provide an offering with the spiritual sense, a tribute, by using art to build a temple for Nature. In an era where the environment is so precious any representation of its aspects should give us pause for thought.
The trees that are figuring in many parts of this installation are perfectly designed like sculptures. Trunks had been a source of inspiration to me since my childhood. They reveal their age and their adventures while at the same time they hold the memories of everything they have witnessed taking place around them over the years
They combine an apparent stillness with life all around. Actually, there are trees that show sophisticated social interactions, like taking care of the elderly and/or the sick via their roots. They send messages to provide nutrients to those of the group who needed the most.
Birds the most beautiful of creatures! They have an infinite variety of colours and their bodies are perfectly designed to fly.They are symbols of freedom, messengers of the time and the seasons.
The sun, the God of so many civilisations The sun which embraces the earth giving light, warmth and life.
The Temple is a place dedicated to divinities where a person meditates, prays worships God, looking inside the reflections of his own deepest experiences, agonies and desires. It is where he tries to find channels to communicate with superhuman in accordance with his human consciousness and his perception of the world.
The sacred temple of the nature consists of six parts.
Four panels are depicting images of landscapes with trees and the sun.Two to the left and two to the right of the «iconostace»
The « iconostace » is a square composition of twelve birds, like the twelve months of the year.
In the middle a big composition of two doves, the sacred couple , the balance .The display replicates the icons of old.
In the center of the installation there is the « Shrine »This is a plexiglass cage,at first sight transparent but in fact mystic were the freedom of birds is trapped and sacrificed. On top lies the « Holly Book » nature's diary, narrating the myth and the sacred secrets of nature.
Special thanks to the designer Nesmelov Anton who helped the realisation of my designs
Woman, through the ages, the cultures and the classes. An internal debate.
In 2020 the city of Brussels and the cultural association Entraide, organized a project to celebrate International Women's day. The participants, mainly women and a few men, originated mostly from countries with many migrants and refugees in Belgium which were attending basic language courses for their "integration".
The starting point was conversations and debates sparked by photos which I had collected or they brought to the class. The opinions and views expressed became my inspiration and the guide for the artworks created. Most of the photos had as a focal point women, of all ages, all eras, all social classes and of origin connected to the countries they or their families left behind. Combining famous works of art with images of famine, devastation brought by war, strife, one was able to see the "journey" from the past to the present which sometimes looked as evolution and others as aggravation.
I tried to become the narrator of the opinions they had expressed and the conversation continued when the artworks were shown to them. So many different experiences managed to find an outlet to the common human experience and by trying to avoid easy cliches for issues that are extremely complex.