I am a visual artist but am considered more of a Kinetic Artist
as I use motion as a major aspect in most of my art. My work is
comprised of the permeable relationship between object and space, image
and sound, motion and time.
My sculptures are four dimensional, and
involve motion, in the sense that motion means time, and time is the
fourth dimension. In my perspective, kinetic sculptures change their
shape and form every nanosecond, which in turn changes the space. I
echo Heidegger's perspective of space as an organic and variable
substance, which harmoniously adapts and engages with the art sculpture
itself.
My art also involves sound, which is a different variable to
pictorial information in a synaesthetic sense. Sound is a bond that
needs to coexist harmoniously with all the sculpturally manipulated
elements, which constitute the visual form of my art. When some natural
sounds does not match aesthetically by themselves with the visual
aspect of the rest of the piece, then I manipulate them with the use of
microphones, amplifiers, sub woofers, and other digital devices. My
goal is for the viewer to experience a phenomenological effect that
approaches and emulates a multi-sensory experience. Manipulating live
sound and video by the movement of a sculptural form is a means of
translating these interactions into a system.
The aesthetic viewpoint of my work is based on the contrast of
miscellaneous discarded materials collected from the garbage and their
significance. Garbage that our hyper-consuming urban society is
massively discarding. My art parallels Avant Garde and experimental
film making forms in combination with Trash Art and Arte Povera
perspectives. Unfocused camera shoots and feedback are comprising some
incredibly interesting qualities. In my art, moving images becomes a
form in which a lot of times the visual interacts with the sonic. In
the most of the times, surveillance micro cameras that are installed
within the interior of my sculptures supplying real time video feed.
Furthermore, I am intrigued with the meaning of the word "real",
and it is difficulty in manipulating what is real. In his book "Welcome
to the desert of real" Slavoj Žižek defines his phrase "Reality of the
real" in a similar matter to my understanding. My work challenges the
perceived ephemerality of technology traditionally contrasted with the
timelessness of art. Last, my art is created with the use of elemental
materials such as carbon steel and wood, which emphasizes on the raw
composition of the sculptural form, rather than on producing a
"designed" object. My work introduces material that is simultaneously
functional and aestheticized. The effect of pieces including
"Kinesynaesthetic Organism" is to confront and immerse the viewer in a
multi-sensory environment that takes on formal and art historical
concerns without neglecting the responsibility and potential of art to
instigate for the viewer a stimulating experience of harmonious
discordance.
Dimitris Michalaros