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Future Planning Overview

In the last few months, the world abruptly changed. The art industry, in particular, is already trying to adapt to unusual and limiting conditions, full of disruption and uncertainty, which completely transforms the conventional ideas of artwork fabrication, participation in any form of live art, and perception of Art as experience. Yet, creativity is a vehicle that most of many other sources have the potential to respond to a change, to contribute to it, and to use the circumstances to conceive new approaches and interpretations of its myriad dimensions.

In this context, I am trying to re-think the possibilities of pushing my practice forward and evaluate the necessity to adjust the process to potential new requirements. Undoubtedly, one of the strategies all artists are trying to adopt is to increase their engagement with Social Media Platforms and Channels.

In a potential situation of continuous social distancing scheme, I intend to develop and advance my Painting practice and create or invent alternative ways to plan, execute and introduce my Performance work to the public through an online presentation, documentation, or live-streaming.

The following year is, nevertheless, very important to prove resilience and to claim sustainability as an emerging artist, therefore, I will try to outline the frame of some projects I have planned and will be realized throughout the next few months, if the Health and Safety regulations are lifted..

At the meantime I will consider any possibilities for getting or sharing a studio, apply for exhibition and residency opportunities, as I am also interested lately in collaborative projects and commitment to social causes trough Art. In such environment I hope to find the audience of people and creatives, engaged with similar ideas and thoughts.

June - August

At the end of May, I expect to take part in a collaborative project initiated by the independent curator Mart Grabowska – co-founder of artBLAB, London, One Project, London, and Red Zenith Collective. The concept is based on tableau vivant – the living picture, which is an intriguing opportunity to combine Performance and Imagery.  

Tableau vivant  comes as a way of contextualising artworks in the notion of slow looking. The main idea is to create tableau vivant series of some masterpieces and incorporating modern technology to emphasize the temporality of the experience versus the immortality of the artworks. In  the context of  chapter two, covering notion of tableaux vivant, of Ardeen Reed's Slow Art: The Experience of Looking, Sacred Images to James Turrell

September - October

Applying for a Ph.D. course in September – research on the subject proposal and choice of supervisor over the Summer. I am not ready with a title or a pricise describtion  of the subject, but the of area I intend to explore refers to the disrupted boundaries of sexuality and eroticism, applied to the expression of The body in Performance art and how, in this context, the female performer’s perception of identity deforms.

October - December

The exhibition Splintered Selves -- The exhibition Splintered Selves at the Fabric Dalston was cancelled at the last moment and presented online. A collective show of three female artists, Zula, Sofia, and myself expect to get a new date and open the show when social distancing restrictions allow.

Human lost – an exhibition raising Inequality as a critical issue of concern. This is the second part of a curatorial project,  centred around collectiveness as a vehicle of transformative thought in a social and cultural aspect, and preceded by the exhibition Emergency,  which I organized and curated at the end of last year with the assistance of Helen Dear and featuring 18 remarkable emerging artists.

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