Eugeniou is probably an artist concerned with what it means to be an artist within the socio-cultural-capitalist imaginary.
Here, Eugeniou writes in third person to think about image proliferation, creation and destruction in a spatiotemporal context as body and image collapse into each other. What does it mean to explore body language, sign languages and mark-making in the ever shifting ground of our control society? How do we sense the hidden violences in the pleasure palace that our metropolis modulates into? If we have internalised the machinic gaze, what frequencies can we tune into when walking down the road on a Wednesday afternoon around teatime?
This space will document work that experiments with what it means to draw in and through the expanded field.
Work that has developed from this notion of the expanded field is also included here. Main areas of interest include media, visuality and technology to explore image proliferation in a spatiotemporal context. Practice encompasses drawing but also projection, film, interventions, performance and stems from an interest in how consciousness relates to public-private boundaries of our visual culture. Works have confronted trauma, memory, monumentality and notions of representation between space and body. Examining the cultural space that art occupies is to consider ways of seeing the unseen, to be present with the entangled fictions & frictions of present times.
Inspired by Rosalind Krauss’ seminal essay* this praxis encompasses a shape-shifting methodology that attempts to engage with individual and collective signatures. Drawing could reflect an embodied code of relationality to others, to time and space; it might assemble a subjective experience, look like an objective representation or a sound like a cry for help. Taking it out of the studio-recording-context will not just expand its geographical territory but trigger a warning of mild turbulence that precedes the gravitational pull into the vanishing points of our contemporary moment.