ART AND ARCHITECTURE: Connecting the SEEN with the UNSEEN

My deep interest in exploring and expressing the metaphysical world is at the heart of my works of art, through which I reveal the invisible multidimensional nature that exists beyond our physical body and the material world. My paintings and drawings for instance are abstract figurative portrayals of our etheric, elemental, and multidimensional shapes, rather than mimetic, realistic reproductions of the visible, physical reality. By portraying these non-physical dimensions through physical art, I am reintroducing and reintegrating this invisible reality into our material world.

This same approach lies at the core of my site specific works, be it in exhibition installations or as site specific art and architecture projects in office buildings, residential complexes or public spaces.
Here, I have the opportunity to open up the real, physical space to a new, previously unseen „parallel“ reality that becomes visible through my art work.

 

A multidimensional approach to space
The design and creation of my site-specific art involves a specific method of connecting to the site, which comes through a multidimensional investigation involving the physical, emotional mental and etheric realms:
First, I explore the mental and physical plane, the existing architecture, its functional elements. I study how people interact with and perceive the existing architecture.
Next I move to the emotional plane, how do people feel within the architecture? I also feel into the architecture itself, its soul, and take on the building’s own point of view: If I’m the building, the architecture, how would I feel? What am I missing? What do I seek?
The third phase involves connecting with the site, often known as the spirit of place or genius loci. How does the spirit of the land feel? I also like to involve the elemental realm, of water/earth/fire/air/ether, which can be viewed as a precursor to the material plane.
As the final step in the design process, I collect these impressions and allow them to combine to form an imaginary story in my mind, which then serves as the foundation for creating site specific art work, typically through hand-drawing and painting on walls, floors, ceilings, and windows.

The big RE-CONNECTION

Often, the emerging stories have a „Desire for Connection“ and „Co-Creation“ at their core. These desires mirror our current dysfunctional, disconnected era, in which the spirits and non-physical elements (of people, places, and buildings) are in desperate need of communication with one another yet are unable to do so. Consequently, I regard my art as the intermediary between all of these elements, allowing for a reconnection and collaborative creation of the visible and invisible realms.

Bringing back LIFE FORCE into architecture
The majority of contemporary architecture is created digitally. It often gives off the impression of being generic, soulless, devoid of vitality, and progressively estranged from the human being, the genius loci, and any other nature spirits and elements that exist in the non-physical realm. This disconnected architecture is depleting and esthetically numbing its inhabitants.
Through my artistic approach I enable the re-connection and integration of the multidimensional aspects of site, people and architecture, which allows life force to flow through architecture and create a spatial experience that is greater than the sum of its parts. Through this process, architecture is reconnected to its essence, becoming re-charging, harmonizing to its residents. 

HARMONY in art and architecture
The notion of "harmony" has been completely disregarded in contemporary art. We are continually told that art should "criticize," "disrupt the comfort zone," "wake you up," "be political," and so on. While this is interesting to some extent, it cannot be an end in itself.
I believe we have delved so deeply into these issues that art (particularly established museum/gallery art) has lost its integrative factor, the power to produce "beauty" and connect with the "soul" of the people. Contemporary established art has deteriorated into a patronizing, moralistic tool that diminishes the human being while promoting division and a depressed worldview.

Today, like many other aspects of our lives, established art has lost its vitality, character, and purpose.
I don't want my art to be part of this tendency; instead, I want to contribute to a harmony and reconnection between people, space and architecture, as well as between our physical world and the metaphysical world. We need to reintroduce the concepts of harmony, beauty, soul-essence, and life-force not only into the art world of museums, and galleries, but also into people's daily lives.

The intelligence of the hand
We greatly underestimate the role and quality of manual work these days. As an artist, I have frequently witnessed the immense intelligence of my hands and body when producing a piece of art. For me, it is impossible—and, to be honest, boring—to only envision an artwork and carry it out without involving the subconscious, intuitive intelligence of my hands, the tools and materials I use, and the intelligence of the site, which emerges when I work on an artwork in situ. Manual creation reconnects architecture to its soul and life force. A process, that cannot be replaced by a purly digital creation.

HIGHEST INTENTION
The responsibility to know from which energy we create
"Working ethics" is a concept I rarely hear when it comes to artistic intention and production. Working ethics should also apply to our intentions and the dimensions we connect to when creating a work of art! Excellence and purity of action are essential, which means being aware of oneself, one's emotional issues, triggers, and shadows in order to avoid attracting energies that are depleting.
The "highest intention" serves as the foundation for my artwork. It is always done for the "highest good of ALL involved," rather than from a purely egoistic, career-driven perspective.

BioGeometry and the energy of shape and space
Following my artistic studies at the Academy of Fine Arts in Vienna, I've spent the last few years exploring fields such as BioGeometry®, the science of the energetics of shapes and spaces, and incorporating BioGeometry design principles, measures, and energetic measurement tools into my site-specific work methodology to further refine my artistic intuitive approach.
BioGeometry aids in measuring the life force energy of colors, shapes, places, and sites, as well as adjusting designs to allow the maximum amount of harmonizing life force to flow through.

CALLING THE visionaries!

If you are interested in my unique approach to art and architecture, are a visionary who would like to collaborate and integrate my site-specific art into an architectural project in a completely new way, I invite you to get in touch with me: office@anemonacrisan.com.