NOW
Group Exhibition
30 Nov – 9 Dec 2015
Trikala
CURATED BY
Marion Inglessi
PARTICIPANTS
Veneta Adamidi ·
Chryssa Dourgounaki ·
Marion Inglessi ·
Kostas Karakitsos ·
Iosifina Kosma ·
Maria Lymboura ·
Liana Papalexi ·
George Pontikis ·
Maro Theodorou ·
Zoe Theodorou ·
George Vavatsis ·
Filippos Vasileiou
A group of artists from diverse artistic backgrounds meets every year in Meteora. Their common point of reference is their work with clay. This year, the bleak events we experience not only in our country, but throughout the broader area of the Mediterranean have triggered the need for a different artistic expression. The title of the exhibition, brief and laconic, is equivalent to the caption ‘no comment’ under an eloquent picture. The disquiet we feel in the face of recent developments literally submerges us, transforming these works into an hour to hour testimonial of the current events unfolding around us. Symbol-like snapshots, legible and identifiable by all: war, migrancy, loss, illness, death, even hope, all hosted under the word NOW.
Maria Lymboura
In memoriam of my memory,
mixed media on paper,
30 x 40 cm
Artist's Statement + Bio
The deceptively simple drawing by Maria Lymboura, entitled my road had a stroke, contains an unconscious reference to Dante’s Inferno, where certainty regarding the ‘straight way’ of life is suddenly lost.
Zoe Theodorou
Suitcases, installation,
stoneware and glaze,
dimensions variable, 2015
Artist's Statement + Bio
Zoe Theodorou’s work deals with emigration and displacement. The heavy, ceramic Suitcases with their fragile shell carry precious cultural resources towards a more expectant future. Iosifina Kosma’s lyrical, helicoidal creatures embrace and complement each other; they are shell-less and vulnerable, yet hopeful.
Iosifina Kosma
Forms, installation,
stoneware, patina,
fired at 1260 C,
85 x 50 x 26 cm, 2014
Artist's Statement + Bio
Liana Papalexi’s glowing pebbles, smoothed by the seas of ages, suddenly develop angry protective spines.
Liana Papalexi
Alice in Porcelain Land, (detail)
porcelain, led lights, plexiglass base,
70 x 100 x 30 cm, 2014
Artist's Statement + Bio
Kostas Karakitsos, inspired by the 16th century Ottoman cartographer Piri Reis, gives his own interpretation of the continuously shifting world map and of its watery borderless crossings.
Kostas Karakitsos
Piri Reis (detail),
paperclay, oxides, stains,
glaze, fired at 1270 C,
diam. 53 cm
Artist's Statement + Bio
Veneta Adamidi’s stark black and white photographs bring the refugee plight in focus as the concrete fez-shaped breakwaters eerily resemble floating bodies washed upon inhospitable shores.
![Veneta Adamidi
Untitled,
black and white
analog photograph,
60 x 60 cm, 2010
Artist's Statement + Bio]
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Chryssa Dourgounaki recreates in clay a pair of WW II soldier’s boots. They stand upon a pedestal, battered vestiges of old and new wars.
Chryssa Dourgounaki
Boots, stoneware,
30 x 27 x 20 cm,
2010
Artist's Statement + Bio
George Vavatsis’ ominous black spheres resemble landmines disguised as metal flowers.
George Vavatsis
Hydrangea,
stoneware, smoke fired at 950 C,
diam. 40 cm, 2013
Artist's Statement + Bio
Filippos Vasileiou’s performance dedicated to drug addicts of Exarcheia in Athens results in a series of body prints where soot, red color, and human excretions mingle to create a crime scene environment.
Filippos Vasileiou
The Empire of Passion
monoprint, 21 x 29 cm,
2013
Artist's Statement + Bio
In Marion Inglessi’s Virus the microscope becomes a ‘macroscope’ as a resilient virus hovering magnified in the air, turns from decorative background to protagonist.
Marion Inglessi
Virus,
linocut on paper,
80x 180 cm
Artist's Statement + Bio
Maro Theodorou, in Section, dissects and archives the trunk of a centennial tree with scientific precision, preserving its identity through its ‘fingerprints’.
Maro Theodorou,
Section,
Woodcut on paper,
115 x 145 cm, 2012
Artist's Statement + Bio
George Pontikis, finally, in Weights and Measures presents his own comparative study of unique objects created with clay, fire and organic substances. Reminiscent of obsidian tools used in the Neolithic era for trade and exchange, they remain today semantically unchanged.
