A Transdisciplinary practice of the Poetry: The Eroticism-Mysticism Aesthetic
I explore poetry in its polymorphic elasticity since 2003. The score-poem is the root of my poetic performances which intertwine writing, sound (music/noises) and visual (video/photography) installations. The score-poem expresses a possibility of transdisciplinary art. It elaborates linguistic semes and their sound in a plastic representation. Beyond the page, the poem is a performative component. Hybrid design between linguistic and musical writing, the image of the score-poem is a sound picture. My transdisciplinary practice of the score-poem is a performance of the women body in writing process on stage.
The Erosticism-mysticism aesthetic is the dynamic of my poetry in its practice. Taking its root into the mythicological Eros, I have designed this aesthetic as the foundation of my art practice. In the Hellenic paganism, Eros is originally called God of Love. He is the union between a spiritual (fusion) and organic (fertility) desire. He embodies the unified duality of the flesh (erostism) and the spirit (mysticism). The Theogonic myth, aiming the world explanation, positions Eros as the drive of the Being, a being taken in creation process. The contemporary mysticism is the possibility of a beyond the religion practices, he is also the ascetism of my practice; the discipline of the body in its expressivity genesis. I am fascinated by the relation between the body in its organic materiality and the expression of its divine aspect. The desire for the flesh to reach the state of sublimeness, provocative ode to death, inspired by the Gods moved my practice. So, the Erostism-Mysticism aesthetic is looking for the reconciliation of the antinomies, the crase tension and the oxymoron tightness.
Belonged to the Neo-Feminism philosophy, I contextualize the women body in the frame of spirituality, a spirituality looking for the sexuation of the genders. The erotism coming from Eros, this God was a merger between body and soul also asexual. Searching for a women-writing is the possible intrusion of the gender in the language. I am looking for shaking the phallocratic grammar and setting on fire the written syntax by favoring the deconstruction of the paratax, the musical explosion of the apposition; I am on a quest to find a tactile, simultaneity writing. This style is hardly conceivable with a traditional discursivity, it can only be heard in the quietness of the emotion, in the beat of the orality, in the poetic silence.