FACELESS BED
The bed is a place of very intense and personal events, therefore its significance is multiple and symbolic. It is the space where the most nodal moments in a human’s life -birth, the act of love and death- take place.
Art is a field of symbols where the bed resolves itself in a statement, a narration, a mean of expressing feelings connected to its on site occurrences. Using different ‘faces’, the bad has been either a piece of art itself -an object of admiration- a symbol of its story or a mean to make a statement.
The ‘face’ of a bed is its personality. More often it is formed and borrowed from its user. It represents his ‘site’ of thinking, his secret habits and performances during his most private moments. At the same time -as a face- it’s a mirror reflecting whatever is hidden in the inside and not being said, but also what the user would like to state about himself.
Beds - especially in contemporary art - sometimes have their own face, which doesn’t imply a user. It’s the transformation of the object into a bridge between a statement, an idea and the public. In this occasion the absence of a user is what gives the bed its own face - its meaning. When the person - a face - is missing, the object is still active and its
significance is present.
The contradictive relation between the faces of the object and the user or the non- user is what generates the complexity of a beds symbolic substance. A bed as an object can be read further than its profound function and its narration, whether they have to do with a user or with a message, are present and ongoing whether a physical face is absent.
EXTRACT from the book
REFRENCES
DIPLOMA RESEARCH PROJECT
THE SPACE OF ANOTHER
The house through the eyes of psychosis
The aim of this research is to investigate the way in which people suffering from psychosis perceive their personal space. The research aims to motivate a group of patients to identify those features that would compose for them an ideal living space. In order to achieve a condition of trust and communication, a methodology based on a series of discussions with members of this social group, was composed. Passages from literary texts, describing different personal spaces, were used as a starting point for this dialogue. Discussions on these texts is an attempt to understand the spatial desires of each member of the group involved. The production of spatial fantasies which arise from the reading process, produce a stimulus on which the second round of discussions will be based. At this point, an attempt is being made to identify concepts about space that recur in the discussions, indicating their importance for the speakers and then, to produce an analysis of their emotional impact to each member. At the same time, the use of these concepts inside the descriptions of the ideal spaces create a field of heterogeneous spatial compositions that reveal the way in which the imagination can produce from common data, multiple poetic images. This methodology, as well as, the analyzing process of its results, has been developed on the basis of the relationship between the three psychoanalytic classes, the real, the imaginary and the symbolic. Spoken language, fantasy and the creative procedure, form three fields of study, each one of which can be perused through the function of a different level of the psyche. The overall aim of this experimental research is to produce new spatial images through the interweaving of the qualities of a literary space and an uncommon perception of things, which perhaps can be the starting point in a debate on whether habitation in general is formed according to spontaneous desires. Every being should have a shelter on this common ground that we inhabit and if as people, we perceive our existence through the idea of a whole, we must be able to ensure that every one of us has the space he deserves.
Mirna Marijanović
Supervisors: Lois Papadopoulos, Filippos Oreopoulos
EXTRACT from the book
BIBLIOGRAPHY