Reading Alberto Giacometti’s book of notes “About the Irrational Knowledge of the Object”, I felt more and more the need to transform a sculpture into one active entity.
By reading Giacometti’s notes I felt my first installation, “Comment se deplace-t-elle”, “How does she move?”
Using the familiar object and apparently stable which is a table, I embezzled its function in a variation of rhythms between: a wooden table slightly distorted, the repetitive extension of this sculptural element in the hanging of twenty-four prints (representations of the table metamorphosis in sensitive areas). The most important element as I considered it was the empty void obtained in the whole ensemble, which corresponds to the dimensions of the table and allows the intrusion of the viewer in what I consider to be a fusion of enigmatic mental situations.
” If a painting is attractive or repulsive through what it contains, an installation is attractive or repulsive first by the way it contains that which it contains and mainly by how it contains YOU, or it rejects YOU,it assumes YOU as a viewer(…) One embraces or doesn‘t embraces a painting, while an installation includes YOU or doesn’t include YOU as a subject, thereby becoming a vital space, favorable or on the contrary, a self-sufficient space.” (own translation from excerpt of Romanian critic Erwin Kessler’s essay “Art creation or action ?” – “Operă sau acţiune ?”, 1993 )
Among my intentions was the realization of a system open to interferences, using quotidian materials and forms, based especially on their accurate instability and calculated approximations to the extent that they free thinking of all escapes, deviations, dizziness, dents and even disappearances.