The commission, working on the premises of a commission, is a game changer for the creative process. It implies that the artist has the ability to adapt to a place, to the person or entity that gives the artist the task. It is a temporary modification to the artist status, identity to a certain extent with possible long term influences in his future work. The relationship between the artist and the commissioner is a partnership, both contributing in different ways to the creative process. A partnership that implies and requires dialog between the two parties, in which the works created don’t have a merely decorative role, but are the consequence/ the result of the dialog.
My method of work was to build an archive of photographs from all the places I was invited and in a later part of the process to create the final works starting from the newly created archive.
The first work created from this archive, Temporary Id No.22/ Untitled 22, raises the discussion of the interaction between the artist and the commissioner: Assuming a new identity, not yet defined, as a step towards adapting to the new context. The artist feels a pressure during this step, of a different kind than the one in his “artist studio”, by working outside his comfort zone. Throwing out a feeler, in this case is sailing though the obstructions real or probable, site specific or method specific, obstructions otherwise necessary to the creative process. Self perception becomes confused, the visitor/ uninvolved status blends with the active resident status.
Site specific ‘digital’ intervention. I like the confinements of photography, the lack of the third dimension, the record qualities (i.e. an index, the documentation of a performance) and I also embraced the ease of alteration given by the digital nature of todays tools. I wanted to shake the paper wrap inside the cart to play with the pictorial qualities of the set I was seeing. My gesture if seen from the vantage point of the camera could have been recorded as a performance, well a mild intervention.
Untitled (temporary landscape) The main reason why I have accepted the commission was that the Temporary Landscapes project I was working on was partly about large scale construction sites. This companies that commissioned me and the other invited photographers and artists, where the main influencer of the changes in the Romanian landscape: new highways that would serve their transport needs, new residential construction sites as a result of employment migration etc. I saw the reflection of the landscapes I was working on in their windows as a poetic answer to the reason I have accepted the commission in the first place.