● The state of Topophobia, as an object of psychoanalysis, describes the fear of certain places or situations and is a reaction of the instinct for self-preservation. It is an atavistic reflex designed to protect the individual, no matter if the threat is real or imaginary.
● The contradiction here is that in case of fear and depression the resources for maintenance of an active state decrease, but in spite of this topophobia is productive. The reaction of the Irritant (place or situation) drives the body in the parabola toward a personal horizon and awakens the latent nomad. It creates a physical and psychological feeling of reality. 
● Topophobia could be the constant relocation in a physical sense – real or relative. Even a body at rest, perceived in a micro and macro scale, is in constant motion.
● The consumer man is thrown back to himself as the postmodern context dictates. The consumer strives for possession of material objects and when this need is saturated, he has nothing to fill the vacuum of his spiritual misery with. The feeling of abandonment and lack of choice is unpleasant and makes the need for self-knowledge painful and unwanted. Man in a state of Topophobia throws himself to his possible projection. As a carrier of action, he assumes responsibility and paradoxically, it is unconscious. The action in this case aims at avoiding the irritant and may result in an unexpected outcome. The assumed responsibility for the action could be a carrier of the phobic feeling.
● The Topophobia project raises the esthetics of the slow gesture /action/ reaction as mimesis. Conceptually it is based on a double focus and the author’s gesture and the artwork itself (unlike the actionism platform - "painting of the gesture", the search is for equalization of values between the physical act of creation and the artefact itself. The action of creation is not an object of publicity, but it could be reconstructed in the consciousness of the viewer). The gesture of the author is a precise and repeatedly rethinked movement in space on a surface without recreating the illusion of gravity (unlike the Architect project, in which the structure is exclusively horizontal). It is formally based on the development of a cross-section in space to a new form of cross-section. The conceptual form is a result of the author's free will and the theme-message of the composition.
● The aesthetics of slow action is an ethical opportunity for observation and identification of the stage of deviation. It opens the space between the instants, a chance for the inter-row spacing and self-control...
for understanding and tolerance towards the other point of view, to the perception of a phenomenon or common interest beyond the ego.
                                                                                                         curated by Baramó

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ELITSA BARAMÓ