My creative work is an expression of my desire for art to return to its essential nature, a look at how people can really appreciate the true value of existence through art. On this basis and in an attempt to avoid the influence of various preconceptions I always try to start the artistic journey of discovery from “nothingness.” In other words, I try to achieve something through the process of art that does not descend to reflection of meaning, conscious manipulation or excessive expressiveness. After conducting a dialogue with the cultural environment in which we live, this type of artistic thinking and creative realization naturally give rise to a highly individual artistic response, much of which is focused on physical perception, realization and how to approximate to the existentialist meaning of art.
Before the beginning of the official discourse the “preface” offers a certain live or segmented reflection on one’s experience of immediate perception. It also stands as an attempt to force oneself to use written words to express the fragmentation of the flowing feelings experienced when creating that are relativist and have no beginning and no end.
The focus of chapter one is the selection of creative materials, formal structure and realizing the content of the work. This discussion is concentrated on three of my own video art works, looking at how they narrate or recount, how they approximate to individual existential experience, and with this as a foundation turning it into the location of immediate “existence.” Chapter two addresses consciousness of direction in any discussion of the meaning of the work. Chapter three discusses the “virtual” application of images from the nature of the individual images created and how modern life forms a background to virtual consciousness. Chapter four presents an in-depth look at modes of perception and understanding in a virtual era.
As for this creative discourse and its purpose as a preface to a larger composition, this has involved dealing with a number of difficulties revolving around the process of discussion. The first has been the basic difficulty of using words to express the perception of creativity and the reality of perception. Secondly, for myself the importance of experimenting with visual creativity lies in an attempt to escape the limits of written words and ideas. As such, avoiding literature, philosophy and art composition whilst highlighting the importance of creative perception, approximates to a form of “language dislocation.” Finally, unable to completely avoid the real conditions of language, the process of writing must actively search out a form of expressive experimentation that is able to pass between the gaps of different languages.