(π’œ π’―π‘œπ“Šπ’Έπ’½ ~)

𝑀 𝑒 𝓂 π‘œ 𝓇 π“Ž  π‘œ 𝒻  𝓉 𝒽 𝑒  𝐸 𝒢 𝓇 𝓉 𝒽

  ~ alleviation through visual and performing arts

Presentation / MA Fine Arts 1.1

" 𝒯𝒽𝑒 π’·π‘’π’Άπ“Šπ“‰π“Ž π‘œπ’» 𝓉𝒽𝑒 𝑒𝒢𝓇𝓉𝒽 π’Ύπ“ˆ 𝓉𝒽𝑒 π’»π’Ύπ“‡π“ˆπ“‰ π’·π‘’π’Άπ“Šπ“‰π“Ž."

"Millions of years before us the earth lived in wild elegance. Landscape is the first born of creation. How can we ever know the difference we make to the soul of earth? Concealed beneath familiarity and silence, the earth holds back and it never even occurs to us to wonder how the earth sees us. Is it not possible that a place could have huge affection for those who dwell there?” [1]

𝒲hat can we really feel, see and can comprehend? Is everything a vivid reflection of what we are ~ from where and from whom?

If we can feel the primordial energies – we can feel the very foundation of earth – and her love towards plants, trees… If we can see it as a source of freedom and peace/balance – we can find it within and around us.

Under zero, the frost settled, with an hour of soft snowing at night.
Under the surface, this thin fragile layer is protecting the greens and a few golden leaves.
Under the soft layer, lies the more harsh one.
~
Through my art experiments, I am researching the process of expression via visual and performing narrative - capturing glimpses of accounts, memories and connected feelings in an open natural landscape, addressing the historical and contemporary themes of traumas and issues - releasing them in an expressive meditative form.

What could heal the past  - preserved in the very soil, when the cultures are standing on their history? The answer is in the Earth itself - what needs to be learned (or remembered) is a deep understanding of Nature - with reverence and tenderness. To realise that how the modern world sees the natural, and describe her (nature) 'laws' and extremes - is only how it is fitting to the narration of the endless exploitation. The protection on all levels is miss-balanced. Human history and presence follows. ~ all is interwoven in such connections, thus my work speaks about such relationships and bonds. – I do not separate it – as a (foundational) peace process. The answer to the trauma of famine, persecution, and current sectarian conflicts –  is not to find the answer at any stake – I wish to heal the memory of it. There is substantially more we need to understand - seeing the Earth as our home - a shelter for all of us.

Various arts experiments are a foundation of my practice - through movement, photography, illustration, animation and other forms I am opening a conscious dialogue for everyone, subsequently showing the viewers the wisdom of nature/earth itself.


β€œπ’Ÿπ’Άπ“ƒπ’Έπ‘’, 𝒹𝒢𝓃𝒸𝑒, π‘œπ“‰π’½π‘’π“‡π“Œπ’Ύπ“ˆπ‘’ π“Œπ‘’ 𝒢𝓇𝑒 π“π‘œπ“ˆπ“‰.” [4]


During the current research I am becoming more and more aware, that cosmos, nature, human are interconnected, precisely in this order and that the fine art practice - through walking and contemporary movement/dance - working and recording directly in the natural landscape is helping me to visualise and connect - find a form how to express such concepts.

~

"π’―π‘œπ“Šπ’Έπ’½ π’Ύπ“ˆ π“ˆπ“Šπ’Έπ’½ 𝒢𝓃 𝒾𝓂𝓂𝑒𝒹𝒾𝒢𝓉𝑒 π“ˆπ‘’π“ƒπ“ˆπ‘’."

 It can bring you in from the false world, the famine worlds of exile and image.” [2]

I touch the feathers, the soil, soil, the bark, the leaves, the stone, water and immerse into it - and the Earth touches back. It can be tender and harsh, freezing and igniting at the same time - an honest act of love, intimacy and belonging.

~
Keywords for my current works ~

πΉπ“‡π‘œπ“π‘’π“ƒ π‘”π“‡π‘œπ“Šπ“ƒπ’Ή, π“ˆπ“ƒπ‘œπ“Œ, 𝒽𝒢𝓏𝑒, π“‚π’Ύπ“ˆπ“‰, π“Œπ’Άπ“‰π‘’π“‡, π“ˆπ‘œπ’Ύπ“, π“‚π‘œπ“ˆπ“ˆ, 𝒷𝒢𝓇𝓀, 𝓃𝒢𝓀𝑒𝒹 π“ˆπ“€π’Ύπ“ƒ, π“‚π’Ύπ“ƒπ‘’π“‡π’Άπ“π“ˆ, 𝓁𝒾𝑔𝒽𝓉 𝓅𝒢𝒾𝓃𝓉𝒾𝓃𝑔, π’Έπ‘’π“π‘’π“ˆπ“‰π’Ύπ’Άπ“, π“‰π‘’π“‡π“‡π‘’π“ˆπ“‰π“‡π’Ύπ’Άπ“, π‘’π“π“…π“‡π‘’π“ˆπ“ˆπ’Ύπ‘œπ“ƒπ’Ύπ“ˆπ“‚, π’Άπ’·π“ˆπ“‰π“‡π’Άπ’Έπ“‰, π’Άπ“ƒπ’Ύπ“‚π’Άπ“‰π’Ύπ‘œπ“ƒ, π“‚π‘œπ“‹π‘’π“‚π‘’π“ƒπ“‰, 𝒹𝒢𝓃𝒸𝑒, π“ˆπ“‰π“‡π“Šπ’Έπ“‰π“Šπ“‡π‘’π“ˆ, π“π’Άπ“Žπ‘’π“‡π“ˆ, π“‚π’Ύπ“ƒπ‘’π“‡π’Άπ“π“ˆ, π“…π’Ύπ‘”π“‚π‘’π“ƒπ“‰π“ˆ, 𝒻𝓇𝒢𝑔𝒾𝓁𝑒, π“ƒπ“Šπ’Ήπ‘’, π“ƒπ’Άπ“‰π“Šπ“‡π‘’, π“ˆπ‘œπ’»π“‰ π“‚π’Ύπ“ˆπ“‰, π’»π“‡π‘œπ“ˆπ“‰, 𝓂𝑒𝓁𝓉𝒾𝓃𝑔, π“ˆπ‘œπ“Šπ“ƒπ’Ή π‘œπ’» 𝓉𝒽𝑒 𝒾𝒸𝑒 π“Œπ’½π‘’π“ƒ π“Žπ‘œπ“Š π“ˆπ“‰π‘’π“… π‘œπ“ƒ 𝒾𝓉, π“ˆπ“Šπ’·π“‚π‘’π“‡π‘”π’Ύπ“ƒπ‘”, π“ˆπ“Šπ’·π’Έπ‘œπ“ƒπ“ˆπ’Έπ’Ύπ‘œπ“Šπ“ˆ, 𝑒𝓉𝒽𝑒𝓇𝑒𝒢𝓁

~

Key words on the draft from my peers ~

π‘€π‘œπ“‹π‘’π“‚π‘’π“ƒπ“‰, π’½π“Šπ“‚π’Άπ“ƒ, π’Έπ‘œπ“ƒπ“ƒπ‘’π’Έπ“‰π’Ύπ‘œπ“ƒ, π“Šπ“ƒπ’Ύπ“‹π‘’π“‡π“ˆπ‘’, π’Ύπ“ƒπ“ˆπ“‰π“‡π“Šπ“‚π‘’π“ƒπ“‰π’Άπ“, 𝑒𝓉𝒽𝒾𝒸𝒢𝓁, π“π“Žπ“‡π’Ύπ’Έπ’Άπ“, π“‚π“Žπ“‰π’½π’Ύπ’Έπ’Άπ“, π“ˆπ“…π’Ύπ“‡π’Ύπ“‰π“Šπ’Άπ“, π“…π’½π“Žπ“ˆπ’Ύπ’Έπ’Άπ“, 𝒸𝒢𝓁𝓂𝒾𝓃𝑔

~

"𝐼 𝒷𝑒𝓁𝒾𝑒𝓋𝑒 𝓉𝒽𝒢𝓉 𝒾𝓃 𝑒𝒢𝒸𝒽 π‘œπ’» π“Šπ“ˆ 𝓉𝒽𝑒𝓇𝑒 π’Ύπ“ˆ 𝒢 π“ˆπ“‚π’Άπ“π“ 𝓅𝒾𝑒𝒸𝑒 π‘œπ’» π’½π’Ύπ“ˆπ“‰π‘œπ“‡π“Ž."

In one half a page, in another two or three. Together we write the book of time. We each call out our own truth. The nightmare of nuances.”  [3]

~

[1] O’Donohue, J., 2003. The Wisdom of the Earth. The Furrow, 54(11), pp. 609-612.

[2] O’Donohue, J. (1999).Anam Ċara. London ; Sydney, Nsw: Bantam Books, p. 103

[3] Aleksievich, S. (1988). War’s Unwomanly Face.

[4] Arendell, T.D. (2019). Pina Bausch's Aggressive Tenderness: Repurposing Theater through Dance (1st ed.). Routledge., chapter 9 https://doi.org/10.4324/9780367809027

~

β€ŒMusic in video draft ~ Peter Miller

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