I was strongly influenced by the work of Juan Munoz through his sculptures and the way he interferes in architectonic spaces, Andreas Gurski for the photographic transformation of landscapes into enormous art landscapes which challenge the viewer perspective of space and Jerome Bell for his challenge of the ‘artist’ place (choreographer/interpreter) choreography and representation.

 

“(…) from minimalist sculpture (…).Since then I was looking at systems for including the spectator beyond the merely visual arena.” (Kaye 2000:89).

 

Even though Places of Comfort was not a site-specific performance-installation (I do believe that it can be presented in other spaces without alteration), it was about the inhabit of a place rather recreate the place; there is a strong connection to the site-specific principles and interest subjects established mainly since the 60s with minimal sculpture and artists as Robert Morris.

 

In this relation to places, design spaces, architecture interplay and alteration of the viewer perspective was mainly Juan Munoz and Andreas Gursky’s work that inspired me. Munoz is known for bringing back the human figure into central attention in art, as well as, for creating architectonic design spaces which alter the viewer's vision and participation in the exhibition; his small scale figures distributed in the space in different floor patterns create an optical illusion, which seems like observing the observer and suddenly the observer loses the notion of s the real space. Andreas Gusrky's large scale photographs also promotes the perspective alteration of common landscapes, inviting the viewer to a majestic contemplation of space, increasing the imagetic of an image.

 

Jerome Bell as a choreographer has been constantly questioning  positions and roles in Dance, the subjectivity, the representation and choreography recalling attention to the heavy burden of western culture with irony and refreshness, “ how bodies and subjectivities are held capture within linguistic, cultural, but also within material and physical spaces of representation” (Lepecki 2006:47).