How did you come to art? How personal are your works?
I didn’t come to art by chance. With artists already in my family, I was connected from an early age to the studios of artists and art students. Somehow, I always knew I had to do this, I couldn’t imagine anything else. My works are always personal, reflect and incorporate all the things that affect us. Conceptually I use the line to create a form of language, spontaneous and direct. Thus, the works answer my questions with other questions.
What topics are you interested in?
I’m interested in everything in art, I try to understand the changes it goes through, whether they are short-lived or long-lasting. As for my art, it is centred on drawing, and on the process of drawing, the transformation of the gesture into a line, the position of the line in time and space, and the return to the line and its encoded memory. I’m also fascinated by all the different media and mediums that can be used to understand and express these relations.
As for my art, it is centred on drawing, and on the process of drawing, the transformation of the gesture into a line, the position of the line in time and space, and the return to the line and its encoded memory.
I saw your work together with Vladimir Setran at the Viennacontemporary. What connects you?
Even though we are a few generations apart, we are connected by the same conceptual questions and a preference for the non-objective, but through other approaches and percussions to them. For both of us, however, I think the primal nature of the line is central.
Do you still have diaries today?
The diary was a singular case until now. At that time I couldn’t work much and that was the only way to express myself. Or rather, the Journal moulded itself best for that time. There was a need to write down absolutely everything, but from the thought to the whole process of writing, it took too long, that’s why I gave it the title “Writing at the speed of thought”. The diary was not made to be a diary and it was not made to be art, it turned into something very powerful and extremely essential in time, to understand my thought process and level of abstraction of the things that affect me.
There was a need to write down absolutely everything, but from the thought to the whole process of writing, it took too long, that’s why I gave it the title “Writing at the speed of thought”.
How do you spend your weekend?
I usually tend not to do any special plans for the weekend itself. Therefore, sometimes it is non-existent other times it is moved during the week. Usually, if I am in a productive period there is no notion of the weekend (which I enjoy the most), other times I prefer a classic and relaxing time whenever possible.
What are you working on? Do you have an exhibition in planning? Will there be one in Austria, too?
I am currently still working on the “Cut the Line” (Time #0.6) project, of which a small part was presented at Vienna Contemporary this year. But for a year now I have been trying to complete this project, working on a series of installations and sculptures strictly related to the diary. Practically, these will represent the transformation of some diary pages into a room-sized installation, aided by mathematical algorithms and artificial intelligence, forcing the viewer from gloss-ing over the journal to physically living inside the artwork. Soon I will start a Residency at Cite des Arts in Paris, and hopefully, show some of the new installations there. Normally, if the times allow us, a fairly large exhibition will be organized next year. Regarding Vienna, fingers crossed.
Practically, these will represent the transformation of some diary pages into a room-sized installation, aided by mathematical algorithms and artificial intelligence, forcing the viewer from gloss-ing over the journal to physically living inside the artwork.
Andreea Albani – www.andreeaalbani.com
AnnArt Gallery – www.annartgallery.ro
