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Capturing the wear and tear of substance and materials, the visual artists attempt to easthetically redefine minor tracesw of everyday wear and transform the images of accumulated erosion into art. Snapshots of everyday scene (roads, buildings, objects...), that are otherwise faintly visible or go totally unotticed , are identified, recorded and transformed into non-identified figurative references by means of completely different visual media (Francois L'Otel, Michalis Ktzourakis, Pawel W           archot). The artwork aquire a new austhetic identity and engage in discourse with the works of other artists, who either use various pure materials (wool, oil paint, threads) to shape their images through the systematic transformations of these selected materials (Eozen Agopian, George Giotsas, Aphrodite Liti, Eleni Tzatzalos, Panos Famelis, Harris Kondosphyris) or use those materials as expressive means in themselves, bestowing an overemhasized materiality upon their works (Pavlos, Joseph Beuys). All of the above compile an international creative vocabulary of matter

The exhibition negotiates the presence of matter's matterialities in art and is divited into sections aiming to highlight the works of each visual artist both as individual units and as part of a dialogue of communication with the other works.

From a state of complete decomposition, matter appears to be reborn by means of the visual artist's intervention. The creation of matter at the service of art appears to acquire an array of different entities, be tranformed, constructed and reconstucted transforming new textures and potentials of color and contours.

The goal of the exhibition is to present its theme in its various manifestations in a way that converses with the viewer: prompted by the basic visual stimuli – the presence of texture of the various materials – spectators are invited to revel in the transformations, aesthetic reconstructions and polyporhism of matter in contemporary art.

Louisa Karapidaki, curator

 

A sculptural syntheses of geometrical spreads made of souvlaki sticks—a petty everyday material, symbol of Greek nutrition—which,. The artworks are distinguished by a repetitive manual labour creating a balance that emerges from the relationship between the fragile and the robust, the lightsome and the structured. The process is once again playing the central role in the overall reading, since it partly constitutes a continuous three-dimensional pattern that is potentially endless; it created a network of three-dimensional geometrical compounds that is evolving until it will completely fill up the blank space that surrounds it.

 

This project functions as a point of reference of all the issues that deal with pertaining the painting process and the wall viewing by transferring those values to the floor viewing of an installation that is comprised of sculptural volumes and stemming from painting traces.

Approximately 500 kilos of dry oil paint colors have been extracted from the canvas, the pallet, and the bucket, ‘debris’ of some other painting project, which now function as sculptural volumes. They have been placed on (practically left at) the floor, thus creating a sculptural installation from painting traces, posing questions in regard to the hypostasis and development of painting as well as the conversion of the painting values (from two to three dimensions) in connection to the surface of the installation and the viewing of the artwork in space. The pieces of dried color is the result of 10 years of collection, leftovers of matter and thoughts that are presented as fragmentary results of successive actions: from the initial production of the raw material until the final aesthetic result which is destroyed and converted into a new shape. 

This tackles anew the issue of trace, since, overall, the paintings’ pieces are presenting notes/traces of painting actions that are covered with layers of grated pigment and are transformed into a three-dimensional synthesis, which, at the same time, conceals and reveals painting values. This is a trajectory of beginning and ending, birth and death, creation and destruction, which creates something new through the matter’s recycling.  

exhibitions

Hellenic-American Union, Athens, 2016

Capturing the wear and tear of substance and materials, the visual artists attempt to easthetically redefine minor tracesw of everyday wear and transform the images of accumulated erosion into art. Snapshots of everyday scene (roads, buildings, objects...), that are otherwise faintly visible or go totally unotticed , are identified, recorded and transformed into non-identified figurative references by means of completely different visual media (Francois L'Otel, Michalis Ktzourakis, Pawel W           archot). The artwork aquire a new austhetic identity and engage in discourse with the works of other artists, who either use various pure materials (wool, oil paint, threads) to shape their images through the systematic transformations of these selected materials (Eozen Agopian, George Giotsas, Aphrodite Liti, Eleni Tzatzalos, Panos Famelis, Harris Kondosphyris) or use those materials as expressive means in themselves, bestowing an overemhasized materiality upon their works (Pavlos, Joseph Beuys). All of the above compile an international creative vocabulary of matter

The exhibition negotiates the presence of matter's matterialities in art and is divited into sections aiming to highlight the works of each visual artist both as individual units and as part of a dialogue of communication with the other works.

From a state of complete decomposition, matter appears to be reborn by means of the visual artist's intervention. The creation of matter at the service of art appears to acquire an array of different entities, be tranformed, constructed and reconstucted transforming new textures and potentials of color and contours.

The goal of the exhibition is to present its theme in its various manifestations in a way that converses with the viewer: prompted by the basic visual stimuli – the presence of texture of the various materials – spectators are invited to revel in the transformations, aesthetic reconstructions and polyporhism of matter in contemporary art.

Louisa Karapidaki, curator

 

A sculptural syntheses of geometrical spreads made of souvlaki sticks—a petty everyday material, symbol of Greek nutrition—which,. The artworks are distinguished by a repetitive manual labour creating a balance that emerges from the relationship between the fragile and the robust, the lightsome and the structured. The process is once again playing the central role in the overall reading, since it partly constitutes a continuous three-dimensional pattern that is potentially endless; it created a network of three-dimensional geometrical compounds that is evolving until it will completely fill up the blank space that surrounds it.

 

This project functions as a point of reference of all the issues that deal with pertaining the painting process and the wall viewing by transferring those values to the floor viewing of an installation that is comprised of sculptural volumes and stemming from painting traces.

Approximately 500 kilos of dry oil paint colors have been extracted from the canvas, the pallet, and the bucket, ‘debris’ of some other painting project, which now function as sculptural volumes. They have been placed on (practically left at) the floor, thus creating a sculptural installation from painting traces, posing questions in regard to the hypostasis and development of painting as well as the conversion of the painting values (from two to three dimensions) in connection to the surface of the installation and the viewing of the artwork in space. The pieces of dried color is the result of 10 years of collection, leftovers of matter and thoughts that are presented as fragmentary results of successive actions: from the initial production of the raw material until the final aesthetic result which is destroyed and converted into a new shape. 

This tackles anew the issue of trace, since, overall, the paintings’ pieces are presenting notes/traces of painting actions that are covered with layers of grated pigment and are transformed into a three-dimensional synthesis, which, at the same time, conceals and reveals painting values. This is a trajectory of beginning and ending, birth and death, creation and destruction, which creates something new through the matter’s recycling.  

info exhibitions

Hellenic-American Union, Athens, 2016

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