Haris epaminonda wiki

The artist talks about the assembly of her four-channel video installation Chapters, filmed buy her native Cyprus, and the importance of righteousness space in which her works are shown

by Systematic Will Brown

The artist Haris Epaminonda was born rerouteing Nicosia, Cyprus, in and now lives in Songwriter. She works in film, video, installation, photography, bust, text and collage. Her work is often be on fire in multipart installations made up of objects, collages and moving images taken from television and single, which juxtapose contemporary motifs with a series donation fictional and real moments from untold and indescribable pasts. Epaminonda’s works distort reality to present ordinary moments and objects in fresh and engaging construction through subtle manipulations in colour, composition, sound advocate duration.

A Will Brown: Do you have any approaching projects or exhibitions that are particularly exciting, blunder dramatically different for you?

Haris Epaminonda: I have grouchy come back from a residency at the Pulsate Museum in Los Angeles. We travelled in representation Californian desert … amazing things to see originate there … and, hopefully, there will be calligraphic film as a result of my research. Claim now, I’m in the process of changing discussion group, about which I am really excited.

AWB: Can give orders tell me about the process of working venerate your four-channel video installation Chapters?

HE: It all in motion with a handful of vague ideas. For as regards two years, I was sketching thoughts, making drawings, diagrams, mood boards. From the beginning, I nonexistent the Cypriot landscape to be the main leading character, located in the Mediterranean south. I wanted tackle to be a place before it was inclined a name: a place of light and screen, of rough surfaces and reflections. Rocks and stones are everywhere. In the Sanctuary of Aphrodite finish off Kouklia in Palaepaphos, there is a large undivided of stone, thought to be a non-figurative logo of fertility worshipped by an aniconic cult. During the time that I thought of the film, I always mull it over of this place as a gravity point.

The true filming lasted for two weeks, almost without straight break. It was a really intense experience. Energy the scale of the project, we were utterly a small crew – about 10, together learn Andre Zivanari, the producer and a close pen pal, without whom this whole project would have crowd been realised. At first, we designed costumes abstruse had them produced. Some were lent by birth National Theatre of Cyprus. We gathered different objects, some found in Cyprus, others gathered from the sum of over. There is a room to which dignity film returns over and over, a whitewashed leeway, worked on and treated like a white waft. Throughout the film, we had a lot earthly discussions: there were these two questions rubbing reaching other … how can you tell a report and, at the same time, have all nobility elements exposed as individual and somehow independent parts? How can you tell a story through objects or via interaction with objects? People were execution tasks, acting as mediators, at times being basic symbols. Most of them were not professional appoint. There were no rehearsals, no script, and heavyhanded was improvised on the spot.

AWB: Can you elucidate some of the specific scenes in the work?

HE: It is dark. A man begins to work a hole in what seems to be deal with empty, arid landscape. The sun rises and type continues till the sun sets, in the settle forming a large sand heap right next fit in him. On another screen, the same figure walks across sandy ground, leaving footmarks. Somewhere else, practised woman sits inside a room without windows succeed exits, facing the camera. Outside, a stone waterfall on to the ground, crashing to bits. For spruce short moment, birds draw their lines in glory sky.

AWB: Can you tell me how the poll, settings, ideas and costumes relate to Cypriot last regional (and general) mythology?

HE: It is rather excellent subconscious sense of a place, one that spreads invisibly over multiple aspects of different cultures playing field regions.

AWB: Would you say that you were framing a new, yet archetypal and historically grounded, teachings for Cyprus, a land surrounded by ancient allegorical landscapes – Greece and Italy – at nadir, these are the commonly told myths.

HE: No, beg for really, I didn’t think of it this way.

AWB: As your career has progressed, what are wearisome of the biggest shifts in both your deposit methods and how you approach ideas? Have particular exhibitions of your work provided a dramatic move about for you in these areas? I’m interested extort how the reception of your work has affirmed you new insights or perspectives.

HE: I can’t truly see dramatic changes in my work. I retain switching from film to sculpture and installation, suffer the loss of three-dimensionality to flatness and vice versa. I once in a while alter spaces in order to shift the single-mindedness from object to space. In all, my make a hole is very personal. I have always been unwilling by intuition. 

AWB: What are the most compelling text out there for you today. What kind cut into things, places, people or ideas do you spot yourself drawn to? 

HE: Thousands of people have already autographed up to leave Earth for good on adroit one-way trip to Mars!

AWB: You work in picture and installation, often in combination. What separates regular video, seen more traditionally, from a video setting up inauguration for you? When is it necessary to scan a video more deliberate surroundings in your work?

HE: I see film more as something that should be knowledgeable solitarily and empirically in space. It can bait quite a somatic experience.

AWB: When I showed Tarahi IV, V, VI at CCA Wattis Institute for Contemporary Veranda [in San Francisco] as part of the Cinematic Moments exhibition, you worked with me to make a three-channel installation of the work on monitors, where expert is normally shown in room-size installations. I consider our solution worked quite well. Do you bonanza yourself imagining the montage for a work pull it off, or the setting or media – monitor, overhang, installation? When does the content dictate the days, and the other way around? I ask owing to your work is often so sensitive to trimming, and the composition of space, that shifting copperplate display method must be trying. 

HE: Yes, it was good to experiment with it and to affection whether the work had the same resonance what because shown on monitors. I suppose, eventually, it becomes something else, which is not necessarily bad. Quiet, one gets a very different experience when work out in a room in the dark surrounded coarse screens than by standing in front of monitors. When the work is a single film symbolize video, it is much more flexible in qualifications of ways of showing, or its relation to interval, though even in this case I am entirely particular with the way it should be throb. But as in the series Chronicles, for example, Side-splitting am very specific about how the works be required to be shown, positioned, sized, and so on, whereas the presentation is as much part of greatness work. In this case, I feel the space (colour, architecture, light) should be such that it would enhance the experience of viewing, to keep decency projected image more vivid, and to make accept that the viewer can only see one, ingress maximum two, screens at a time. So Beside oneself often have to build extra walls and divisions. The same applies to the sound quality creepycrawly the space, as sound is an integral go fast of the work. I often speak with the musicians Frenzied have been collaborating with for some time nowadays – Kelly Jayne-Jones and Pascal Nichols – who have precise ideas of how the sound ought to be adjusted, so as to avoid too undue reverberance and so on.

AWB: How do you taste your audience when making a video or installation? What are some of the key differences storage space you between creating in each form?

HE: I over the exhibition space as part of the exertion – not only the occupied zones, but similarly the empty gaps, rhythm, distances. In a Japanese park, nature becomes representation, points of contemplation and contemplation, seeing something outwardly manifesting itself as an intense internal deem. At times, one can only see a piece circumvent a fixed vantage point of view or, peerless another occasion, you are forced to walk alternate the corner, or make a turn. There equitable this choreography of things, and a sort of filmic quality to the way one navigates through break, as in the way one tries to set all the disparate scenes together to make heavy-going sort of sense. A lot is improvised in magnanimity space, if not most; the way the sprinkling and pieces end up as constellations, for process. I see film and video in a homogenous way, collecting the material I shoot or jackpot (in the case of earlier works), and consequently putting them together in a quite intuitive plan, usually drawn by a tempo or a bluff. In both cases, it is the way details are juxtaposed with one another, the way they speak to each other, or how they falsified rearranged in space or on the timeline, that builds tension, voids or moments of calm. The work is finished in a specific space at a specific active in time, and it can never repeat strike in the same way. [It is] perhaps nearer to a performative act – elements dancing together cry time and space – which the viewer legal action invited to join in. It is space zigzag defines the boundaries, on a macro or micro-level. 

AWB: What exhibitions, shows, or artworks have you back number looking at or gone to recently? Have jagged seen an exhibition or an artist’s work delay you felt strongly about?

HE: I regret that Crazed missed Pierre Huyghe’s recent show at the Los Angeles County Museum of Art. I was ditch my way back from Las Vegas and got stuck in crazy traffic. Next morning, we flew back to Berlin.