80 portraits around the art world, project. Dakis Joannou , Log entry. 12. 13. 2019.

 

Dakis and I met up through the Watsup video application at  9. 31, Am and we painted until aprox 10.40 am. Dakis was in his office in Athens, Greece,  surrounded by art works  and I in my studio in Split, Croatia.

This project emerged out of me probably because I became aware that living as a mother artist, with a permeant base in Split where the art scene is very small, an inability to travel much at present,  I lack the possibility of new encounters, of meeting new people who love contemporary art, understand it or with whom I can share and bounce off the passion art is . The project became my window into the art world and a valid reason to meet other art passionate.

Meeting Dakis and exchanging with him, became in the moment of the performance the more interesting element, putting my attention to the painting as second. It is art that connects me to all the muses in this project, however the energy of the dialogue, the personality of the muse and their intuitive reaction to me is a part of the performance. - In fact, it is not a performance, it is a real reaction. A real life moment of interaction. I just label it “performance” to make it more digestible and easier to understand to the art public. For me in fact every performance is not a staged performance but a real life moment in time-the only real theatrical performative element is the organising of time, date, and the space, in which the performance is occurs.

The human encounter in my performance- always carries all the unexpected elements unlabelled interaction carries. Discovery. Curiosity. Humour. Intrigue. Revelation. Respecting of intimacy. Learning. And reaction.   Within the short scope of the painting session, I like to find out some elements of personal history, horoscope signs, personality of the muse, as well as the story of art- which was the reason I had invited the muse in to the project.

I was curious about the favourite works of such a grand collector, and in fact loved the answer Dakis provided. The works he collects reflect the friendships he forms and so his favourite works are those of his close friends.

This I could very much connect to myself, even though my system is very different, we are both people collectors. Dakis often collects the artists into his friendship circle and their art works , while I paint portraits of people ,most often from life- so that I do have the moment with the living person, essentially I have the opportunity to start friendships- which often do result form  a painting session, and then I keep their portraits. We are essentially both people collectors in an art spectrum.

I felt like I was communicating to someone form my planet.

Dakis also showed me some Josh Smith’s works on his walls, pointing out that they are carry  somewhat dark energy, and that he has even darker works in his collection. This intrigued me as I tend to avoid facing owning a darks side, I don’t read the kids or my self sad or tragic books, Im all about the keeping things bright and being up beat ( since leaving my creepy portraits at begging of college phase).  The answer surprised me, which I why I will share it in his log. – In my interpretation Dakis said that the dark intense works create a visual and energetic contrast to the other works. It makes the other works pop and appear even more positive, and visible,  and  it gives a space a more interesting dynamic. Food for thought. I may be able to admit having a dark side one day when I am wiser and not need to hide the  dark paintings I create .

There where many more topics of conversation covered, as happens when people meet, and especially when they are in the sacred live painting moment. But this is not an article, I am not a journalist, the rest you will have to feel form the painting produced.

The painting does resemble the muse, contain the energy and colours of the conversation, even if it is not entirely anatomically correct, because the conversation won a larger part of my attention. It seems like I paint badly when the muse has great stories. I gawp and listen more than observe the paint on paper beneath the screen .