Iseult- (no.3) Painting

The theme of inhabitation has been central to my artistic process, as well as the blurred limits between what are considered "˜artistic "˜and "˜private' spheres. I have re-located and dis-located elements of these inhabited spaces in order to explore the idea of a "˜lived' art form. Gradually, I have grown into defining the concept of space as both an architectural/ phenomenological space or, equally, the space of the drawing generated within the blank of the paper surface or the drawing -space occupied by written text on a page). I have grown into seeing all these different material spaces as forms that can be "˜musicated' by a drawing-rhythm which could be manifested in a multiplicity of materials and shapes and can be poeticized through labyrinthine strata of associative meanings that could both generate and be determined by them . I have also grown into understanding that, for me, as a painter, this spatial drawing is deeply connected with a phenomenological perception of light and intensifies a way of tracing the light- perception within a space and making it visible/present. My installations/drawings/language-object collages are attempts to poetically respond to a space, to alter it, or trans-form it into something impalpably different. I am looking for a stretched here /now, an enhanced consciousness of the space co-inhabited by the artwork and the viewer. This concern could partly be described - in the terms of the phenomenological topoanalysis defined by Gaston Bachelard in "The Poetics of Space" - as a primitive poetic image of the house. It refers to creating an "˜extended, spatial object' whose membrane is the locus of two types of reflections - a reflection of the self and of the outer, surrounding space, with its own identity and character. It could also be partly be represented as a Deluzian curving, waving space, a labyrinth folding/unfolding ad infinitum, a very fluid understanding of matter and its unfixed, flowing transformations. I believe that what I have been looking at essentially in all these "˜gardens with forking paths' (as Borges would have called them) that I have been walking into and leaving, then constantly revisiting again during my research, has been the idea of consciousness generating form, and its unfolding , refolding, waving into space.