inner perception

INNER PERCEPTION

Publisher:
SKC Gallery, Belgrade, SCG
2004

M: A ‘small story’ initiated our communication.

P: An ‘invisible story’ accepted and established this communication.

M: They (the stories) also hinted, by themselves, at some hidden, restrained states…

P: … states that ultimately through themselves and through the established communication began to burn and over time were established as such.

M: The communication with which we began to explore our intuitions (meanings) and our feelings (emotions) for each other, by knowing the meanings of the words used and by knowing more in the sense of being able to imagine them and to become conscious of what they are for us.

P: The naming of our feelings as the emotions of love and belonging are the beginnings of a deepening of our knowledge of ourselves.

M: It is active comprehension of ourselves together with a need to adapt conventional language.

P: It is a form of your/my private language…

M: … with a universal reading.

P: As it was also presented in the ‘Declarative Art’ project, where meanings, in the form of art artifacts, can be feelings given in words (statements) and images (symbols).

M: The concept of our universal understanding, or universal communication, in which the key is the language of transformation of what is already there (through forms or metaphors). Our communication is the transference of our mental discourses into a symbolic discourse in the form of the universality of our inner perception (of self-evident postulates, such as ideas or a statement).

P: … which we accept with full existential commitment of emotions.

M: The visual representation followed the mental representation which spontaneously arrived in our consciousness to be perceived as a private mental discourse with all its characteristics (integrity or even self expressiveness in whatever form).

P: In our context, this dynamic self-reflection is an expressive picture of language as a creative source of artistic thought (feelings, emotions, authenticity and integrity).

M: We become the subject and object of our artistic expression …

P: …through all the media that we use.

M: Our art is in the form of sensual descriptions of our relationship where we are not important as individuals with names, but as an integral whole …

P: … as the bearers of the essence of emotions.

M: … which initiate a creative process in the most intimate and thereby truthful expression.

P: …where words in all their immeasurable power become vitally important, moving extreme emotions from total delight to full disappointment. The exhibited works represent precisely this kind of emotional state of consciousness with all their nuances. In this context we wanted to show the influence of words and our fragility through their power. The interpolation of purified words, in emotional reflection, in associative photographs of transparent, reflective, fragile glass in contrast to various hard metal forms. In this work we have the need to elaborate self-understanding with the codification of emotions through the taxonomy of words.

M: Our individual content of expression through the particular use of words and photography is completed with use of bodies in performances, with which we articulate some ideas (emotional states).

P: The words and symbols (images or gestures) we use for expression are a set of routes that reflect each other like a recursive operation.

M: We tried to express that reflection, sometimes in a strictly formal way, by building up a now recognizable artistic discourse based on the individual characteristics of ourselves, as well as on our mutual inner perceptions.

P: Among other things, a rather pragmatic question arises here: is the language that we have used so far for representing our relationship and emotions the most suitable, or are there some stronger, more expressive and applicable languages for our artistic activities?