Operation Paris
Paris Opera Competition
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Working at the boundaries of the known, the unknown and the unknowable, I prioritize the two latter notions. Intend to excavate the preconscious from the subconscious strata. My tools are my pen and lately the stylus (for drawing on digital tablets). The material starting point is the epidermis of the place, but from there one has to ascend to the rarefied spheres of thought and even feelings. This floating in the domains of the unknown and unknowable, unfortunately during the design process and as the straight consequence of the same, shifts more and more towards the domain of the known, and ...
Working at the boundaries of the known, the unknown and the unknowable, I prioritize the two latter notions. Intend to excavate the preconscious from the subconscious strata. My tools are my pen and lately the stylus (for drawing on digital tablets). The material starting point is the epidermis of the place, but from there one has to ascend to the rarefied spheres of thought and even feelings. This floating in the domains of the unknown and unknowable, unfortunately during the design process and as the straight consequence of the same, shifts more and more towards the domain of the known, and in the constructed reality every unknown must be excluded. My process drawings aim to serve the prolongation of the floating phase, and interrogate that hope, whether the materialized reality could convey anything at all from the Icarusean gift, provided by the design experience for its enthusiastic laborer. - More: http//www.youtube.com.watch?v=JhxyTozjHE video which shows the method, and the direct ink drawing mode on opaque paper.
