When space movement is... is related to its tangibility
A negotiation between perceived objects and the body is the tactile sense exploring the surface of the body is in the process of definition through the act of measurement
Thus the recognition is of its abstract boundaries is the repetition of steps is the combination of placement and the awareness of form and function in specific locations is their names takes place dependently in a perceived time
Then motionlessness is apparently the end of movement whereby an action causes a condition to come to a standstill. What's possible? is when motionlessness, is the absence of movement and results in a system of relationships is therefore existing only in the presence of the other.

Through the discovery that the difference is in the perception of movement and the act of moving which becomes experience, two different aspects can be established: Motion is nothing without the body in motion which describes it and provides it with a sense of unity. The basis is formed by the experience which is meaningless without the idea. Geometrical space exists under empirical conditions of the mind and the consciousness of space is read through the conditional and conventional laws of recognition.

The pictorial space of the artist's work may be splintered at times when it lies exposed as an undifferentiated matrix. It suggests that the audience remain suspended and engage with a second look. The visible, represented space operates on a multi-dimensional level where inside and outside merge. In Live Art/Performance the body becomes the object and links the references of both 'real' and 'imagined' locations. The markings on the matrix are clear and prompt; the body is a device of exactitude, a reassuring thing to hold on to (or so it seems) in a picturesque situation which is about to change.

After the creative process has taken place a metaphoric comprehension of it sees how nothing is made into something, from here and there, and out of the air. At the moment when an idea is transformed the viewer is taken to a place which did not exist before.

My own work consistently sways between the found and the made, often superseding the conventional meaning of 'object', offering a philosophical contemplation about the body and its momentary situation in time.


Dagmar I. Glausnitzer-Smith

©  a maestro production Berlin 2004