This black and white abstract geometry series is presenting a dialogue with the elements of perceptions and space. I like to use as a starting point the elements already created in our reality, fragments of nature or made by human hand. I like to restructure the images I am taking, by altering the angles and relative lengths, joining structures or spatial symbols into a combined representation of matter, just as I like to reorganise my thoughts, in order to be able to consciously change my interpretation, or better say my perception and while doing so I add new forms or perspectives to each thought.
Inspired by London’s brutalist architecture by buildings such as The National Theatre, Barbican Centre, Hayward Gallery, and Tate Modern, I have deconstructed and altered the reality in order to obtain abstract geometric images, since by definition the abstract thinking involves a mental process and an abstract object does not exist in time or space, but rather exists as a thought, as an idea.
I use art in a reversed process of creation. I believe thought forms what our eyes can see, so I take what was already created by the thought of another and I try to place it back into what is known forever in the mind. In no way shape or form have I intended to create an optical abstract work; I did, however, intend to present at least two perspectives, two points of view in each artwork since in everything we are doing in our Earthly lives we have at least two points of view and it is entirely up to us to consciously chose one or another at any given moment.
All the inner voices that we hear are merely choices that we are presenting to ourselves, then you get to choose from them. It is always up to us to choose. We can always choose who we want to be or who we know ourselves to be, rather than what timing or circumstances or even others dictate. Beginning to exercise choice consciously is perhaps the only thing, that if we embrace and begin to express, will immediately and fully transform our entire reality.
When we maintain the consistency of what we have decided, when we choose who we are, and then continue to decide "this is who I am," then we create a continuity, then we create the foundation through which we can begin to see the changes in our reality, see the changes in our lives through the eyes of the decision.
The present abstract series of photographs (Solid Wood ArtBox, UltraHD Photo Print On Aluminium Dibond) has been created with fragments of brutalist architecture buildings such as:
The Royal National Theatre (1976), on London's South Bank of the Thames, which is a Grade II listed building and one of the most notable examples of Brutalist design in the United Kingdom. Architect: Sir Denys Louis Lasdun
The Hayward Gallery (1968), an art gallery within the Southbank Centre in central London and part of an area of major arts venues on the South Bank of the River Thames. Architects: Hubert Bennett & Jack Whittle. The initial concept was designed, with the Queen Elizabeth Hall and Purcell Room, as an addition to the Southbank Centre arts complex by team leader Norman Engleback, assisted by John Attenborough, Ron Herron and Warren Chalk.
The Queen Elizabeth Hall (1967) is a music venue on the South Bank in London, that hosts daily classical, jazz, and avant-garde music and dance performances. Architects: Higgs and Hill. The Queen Elizabeth Hall (QEH) is part of the Southbank Centre arts complex along with the larger Royal Festival Hall (RFH) and an art gallery, the Hayward Gallery.
The Barbican Centre (1971) is a performing arts centre in the Barbican Estate of the City of London and the largest of its kind in Europe. A Grade II listed building, the Barbican is one of London’s best examples of Brutalist architecture. Designed by Peter Chamberlin, Geoffry Powell and Christoph Bon of Chamberlin, Powell and Bon.
The Lecture Centre at Brunel University, Uxbridge was designed in the Brutalist style of architecture by John Heywood of Richard Sheppard, Robson and Partners and built between 1965-1967. It gained notoriety as a location in Stanley Kubrick’s 1971 film A Clockwork Orange. In 2011 it was awarded Grade II listed status for being of special architectural and historical interest.