DANIELLE GEORGIOU

I’ve been interested in the artist’s perspective on the aging of not only the body but also the aging and evolution of the body’s self-awareness and sensual language. What are we drawn to, as artists, during physical and psychological change? How can I present a work identifying the universal and inevitable signals that age activates in art? I’m interested in the voyeurism, the perversion, and the discomfort of nostalgia in physical memory. At times, my discoveries were thrilling and joyful; at others, I was drawn back into the adolescent ghost-story perspective of a body vulnerable to physics, time, and chaos. Our delicate bodies are not simply tests of longevity and health but a statement of environment, status, exposure, autonomy, confidence, and progress. What a wonderful sculpture that changes as we explore it further – a relationship with a book of poetry, constantly revealing new verses on yet undiscovered pages.

 

In “the no of all nothing,” I present the pointlessness and absurdity of my own desire to do something impossible. To complete an extraordinary feat. To walk through a concrete wall. The sound of the ball marked the time as my attempt persisted.

 

The piece is a competition against myself. An athlete trains with or without a finish line; a dancer trains with or without a performance looming. We repeat the ritual. Perfection is always on the other side of an impossibility.