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Making art is how I locate myself in the world. As a culturally-mobile artist, I am continuously exposed to new circumstances as I geographically and disciplinarily relocate myself and pull myself out of spaces that are characterized by my knowledge of the language spoken and my familiarity with the surroundings. Within this mobility, traditional conventions of art production, notions of the artist as the main actor within the making of art, and ideas about the spatial belonging of art work and art shows are subject to challenges. The interplay between making art and teaching in multiple disciplinary contexts mutually informs both my work in various academic arenas and my interaction with different materialities. My art work emerges out of an engagement with the various cultural settings in which it takes place and is subject to on-going negotiation and reflection. My curiosity and social interaction with those around me direct me to different materials, just as much as the site in which I am working does. Shifting perspectives allows for an attentiveness to and understanding of both individual and societal notions of reality and real. This way, modes of sense-making, from an ever shifting point of view, materialize in my art. Very often my art work is participatory and not made to last; time will change it and will take over the narration.