Art can be an explanation, quantity not quality


is such a Hole-ism performance that involves the drilling of holes on wood and is an attempt to produce an original hole. In the act of making holes the artist is demonstrating the hole as a work of art to express the idea that (1) the artistic production of an original hole is an act of female empowerment and that (2) a work of art can be fully realized through first-hand experience of it. 

(1) In demonstrating the production of holes as a form of female empowerment, the exhibit will involve the multiplication and reproduction of The Artistic Idea - an 'original hole'. The production and reproduction of holes signifies the Creative Urge of the female artist. She is empowered by the very act of externalizing her ideas (a necessity). 
(2) The act of manipulating holes will exemplify the way the artist experiences the work of art, i.e. how the artist truly consumes holes.


ARt Fair, 360 artist display, parade and trade sweet works of art.


During the Feeding on Holes performance I walk with 2 bricks, wood pieces, a bucket and a drill. I place a wood on the floor and I drill different holes in it. Every hole I made signified a turning point in the concept involved, e.g. 1st hole ‘a hole’, the 2nd hole ‘hole for sale’, 3rd hole hole- ‘a destruction hole’ and the 4th hole- ‘an original hole’, including the holes on my body. I reproduce the same original hole until when the wood is finished. Once finished, I get up to get to another location where I repeat the same action. 

Here exhibition (performance) is observed as a moving artistic installation. The way performance is produced is in an extremely controlled manner where every movement is choreographed. Within this context, every hole has a corresponding text recipe, a name, a way to be made (action of production: a sequence of specific steps to be taken with the body) and an explanation of why it is made.




The concept behind this type of performance is the reproduction and the consumption of holes, which signify nothing made into something. The question posited here is: How is a work of art realized and consumed nowadays? The answer is that the work of art is a commodity that, however, can be experienced fully, even in the one quality that defines it (as a consumer product) only by the artist that produces it - through firsthand experience of it. 

A woman’s empowerment comes with the flexibility with which she can treat (manipulate) a hole and with her determination to drill holes. The questions posited here are: How do you consume nothing and how do         you empty something that it is already empty? What do you do with            nothing?   The answer is that a work of art questions the very process of producing meaning. In this context, the hole signifies nothing and the potential of nothingness as an empty space passage towards questioning for something yet undiscovered.



The production of holes on a wooden board can be looked at as a sequence of artistic steps taken to question how we assign meanings in art and observe the artist while representing them visually. The wooden board acts as a plot-outline that generates explanations through the collection of holes. Holes (empty space/invisible areas) are the visual representation of the relationship between a hole and its ideological significance. In that, every hole has a corresponding action for its production and caries an ideological significance.


After drilling the 3rd hOle (labeled as 'destruction hole'), I create an ‘original hole’, which is both an initial hole and a creative hole. This way the female voices an act of necessity to demonstrate that it originated from her. The idea of making an original hole is that of ‘activating the idea of hole’. Using holes involves taking pleasure in exposing holes and feeling holes, which is much about giving power to holes in the form of attention and power.


Once the original hole is created, I continue re-making it. The female artist carries on on re-producing her original idea. This way I demonstrate and urge of females to sound their ideas; to activate their holes, i.e. play with their holes, expose their holes and reproduce their original ideas. In that, the female artist is empowered by her very act to externalise her creative impulse to multiply and reproduce her original idea - the original hole. Her power comes with the determination to multiply and re-produce Her idea (hole), realize Herself through the nothingness of the holes empty space and rush Herself into making, going trough and remaking it. The point is to empower herself in her own violent burst to create and realize her armies of holes.

The action of manipulating holes with fingers and mind, during after the original hole is made, exemplifies the way the artist truly experiences the work of art, e.g. how the artist truly consumes holes. The rationale is that she will be touching, emptying, exposing, smoothing, going through holes and negotiating with holes. This way the artist also develops a kind of a sexual relationship with her art. Here, art is the experience of a sensual connection between the artist and how she touches holes. This is the idea that our senses act as translators; That in order to        process information truly and fully one must get his/her fingers dirty.  


With the 1st hole I drill, I sign ‘a hole’. After drilling the 2nd hole I connect it with a label ‘for sale’('ΠΩΛΕΙΤΑΙ', from Greek). Through the drilling of ‘holeσ for sale’ on the board, the artist performs 'the ritual of packaging' & 'the destruction of packaging'. The packaging of a work seems always to be an important issue in art. 

It is related to the possibility of perceiving the transitional nature of the space produced by text and image, where the common space is completely lost. The emphasis is on the producing a communication vessels that are static and consumable objects, for which the sign has to be well executed. In this kind of art, execution has to reach the point of desirability, which in turn defines success. This seems to be orchestrated by dogmas of aesthetics without any examination of the philosophical implications; In that, the art consumer favors appearance over problem solving or process, ultimately, artists are more concerned with packaging the image than creation. The work together with the artist undergoes implications because is orchestrated by her social structure and the spectacle in which she happens to be.(reference missing-it's ok for now)

During the performance I have my mouth and vagina covered/blocked with the stickers. The covering of the two areas in the female body is a form of politics of exposure related to activities with holes in today’s cultural and social networks. I punish the hole by concealing it and thus appropriating it with the stickers. (‘Appropriation of holes’). 

I then punish the concealment of holes, females, ideas and words by uncovering the stickers and drilling through the labels to destroy them. I create the 3rd hole- ‘destruction hole’. I take down the stickers off my body and place them on the wood.  By Drilling through them I destruct the holes packaging and reveal the holes openings to act as sources for voicing females, their art and holes. I am then able to create an 'original hole'.


Feeding on Holes examines exhibition,
production and reception stages of a work of art to test how a pattern of
signed events accomplishes artistic effects touching upon ideas about what is
art and how is art produced nowadays. 
In this type of performance the artist
has a text-recipe which she follows strictly. Having her act through sequence
of movements followed strictly creates an interesting game between the idea of
planning (having a controlled environment) or being spontaneous for
performance. It also touches upon the idea of promising something and bringing it
out in the world 'as promised'. 
was significant about it, is that, even thought it starts with a premise of a
specific recipe, I can see developing many different levels for its interpretation and
this way I don’t have to give up the experimental aspect of the work.
concept of productivity (reproduction of the original hole) comes from innovation, advancement and technological
progress. They are associated with productive efficiency. If you have
productive resources (voice empowerment) you can get more outcome. This is also associated with
human resources (concepts and voices), which brings more productivity, therefore more art, more ideas, more means of production and more power to
produce art.

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