Garen ANDREASSIAN

REALITY, PROCESS, CONTROL

The installation consists of ct moveable module, which absorbs external information in addition to the information I have put into it. As a result a transformation takes place. The module is complete in itself, but is constantly influenced by contradiction.

Reality: Reality confronts itself. A fact is a construction of sense impressions that are discovered through experience, and of historical truths that ore accepted as common knowledge.
Process: Pure experience and the process of recognition.
Control: Control of consciousness.

The work is a structure onto which experiences and subjective impressions are projected. I hove chosen geometric form (a cube) because of its purity, but this cube is transformed by its interaction with external reality: it reflects (incorporates) whatever it receives. I am attracted to the artistic process because of its spontaneity and instantaneity, which never the less ore subject to conscious operations.

Parts of the installation are outside the exhibition space. The piece tends to dissolve distinctions like “interior” and "exterior”.
The work is created in an instant and what remains after that instant is only its trace.

ACCIDENT/EXPERIENCE

The piece is the result of a long-standing interest in the properties of metal. I have chosen iron because of its adaptability.

In this case my attention was drawn to its least promising, yet most enigmatic aspect - its dust or powder form (the humble residue of metal working). This awoke a series of memories in me that helped to distract me from the principal issue, thus enriching the work.

This principal issue might be defined as the need to recognize and explain things, taking Into account the importance of the present moment, to see and feel the moment by means of a magnetic field that changes the form of the metal.

My work's relationship to nature, notional culture and history is largely unconscious. The rock forms of Armenia the “Navel Rocks”, “Dragon Rock” and “Mill Stones” –be they polished and carved by man or created by natural forces are hardly more than pleasant memories to me. Allusions to national culture are largely accidental, a matter of the passing moment, and an effect of my environment.

My desires are different—to incorporate in my work my problems and my tendencies, outbursts, lusts, attractions and my love of technology.