Hang on to your ego; everything is new

This essay acts as a parenthesis which inserts my artistic practice prior and during the, yet to be completed, Fine Arts MA program at IUA. It revisits past events, works and thoughts and their relevance to a given time and space. The essay translates my interest in how the artworks are experienced. The situations, artistics and mundanes, observed and unravelled in writing are recontextualized through the written documentation and therefore echoed in space and time. Similar to a corpse, they are absent from themselves in the ‘now’. Even though people rarely change but the vision they have of themselves do, I will most likely get bored of these words and soon enough not stand by them. Not only for the previously mentioned reason but mostly because I tend to “steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty. Other qualities may be conducive to achievement, publicity, success; but they are all outworn - as outworn as ideologies, opinions, concepts and names for things.” This essay doesn’t intent to be an exhaustive research born of stubborn assertions; but rather a recollection of loosely associated introspections. It is divided in three parts. The first part surveys the evolution of the artistic process and the continuity of the practice from 2016 to winter 2019. The second part unravels two art pieces completed during the duration of the MA program. Part two aims to objectify, as well as add and depart from part one. The third part offers anecdotes written in a journal form. It is scattered throughout the essay and it interferes with the theoretical aspects. Part three interrupts the linearity and clarity of the whole. It performs as a red thread reasserting themes and moods that are cycling in the current art practice