vendredi 7 octobre 2016

Images from exhibitions 2013 - 2016




                               2016   " The day when his shadow was perhaps at its darkest "

The day when his shadow was perhaps at its darkest "Ileana Tounta contemporary art center. Athens 2016 


  " The day when his shadow was perhaps at its darkest "Ileana Tounta contemporary art center. Athens 2016 

     Richard Amstrong director of Guggenheim Museum NY and Nancy Spector visiting "Integral 1"  show at lleana Tounta contemporary art center. Athens 2017


  " The day when his shadow was perhaps at its darkest "Ileana Tounta contemporary art center
 Athens 2016 


Le corps, les songes" Dix291 gallery with Diana Quinby (photo Bernard Crespin) www.dix291.fr"


Le corps, les songes" Dix291 gallery with Diana Quinby (photo Bernard Crespin) www.dix291.fr"


 Figures et paysages " domaine de Kergeuhennec,Bretagne www.kerguehennec.fr"

 
  2013   Invited by " Family business" . Scarecrow " The falling king " www.chaletsociety.org


  
2013 Scarecrow " The bride " Chalet society ,Paris o



 Everyday life is strange, when grown in a strange land
Thomas Mann, The magic mountain

My work is based on the emotions we experience in life, by revealing their absurd dimension . I'm interested on how forms and expressions of everyday life can give away the multifarious and contradictory human nature . I shift familiar and more alien elements and organize them again in new narratives enriched by my personal views, placing these elements  in situations different than they should originally be
In my drawings vague figures coexist with unknown landscapes. The idea behind my work lies on the decomposition and re-composition of a combination of elements which are opposed, added one on top of the other, merge, so they might at the end express an unstable situation between multiple realities.
I try to bring to the surface a sense of oscillation and uncertainty about where we really stand, through a dialogue of different levels of representation. Forms are linked together by a controlled yet unpredictable development, since the construction process -which is vital for me- is involving association of ideas and successive layers of charcoal until the final image is formed. This escalating process allows the creation of a channel between the conscious and the subconscious.

Katerina Christidi 2016




 Copyright OSDEETE Athens/  ADAGP  Paris

vendredi 10 juin 2016

"Full screen" drawings 2013 - 2018





 
2013    Charcoal on canvas   230 x 300 cm 


   
2016 - 2018    Charcoal on canvas   220x 270 cm                                      

  2016    Charcoal on canvas   220x 270 cm


                                      
                                           2018    Charcoal on canvas   220x 270 cm 


  2013       217 x 270 cm   Charcoal on canvas

                                            
                                      2009-2016       220 x 260 cm   Charcoal on canvas


 2014       220 x 270 cm   Charcoal on canvas
 

2014       220 x 270 cm   Charcoal on canvas
 


2015       220 x 270 cm   Charcoal on canvas



2015

2018     view of the studio    Charcoal on canvas   220x 270 cm   





 copyright  OSDEETE Athens/ ADAGP Paris

mercredi 25 mai 2016

"Full screen" drawings 2008-2012






2009       183 x 207 cm       Charcoal on canvas



2009     View of the studio

2008        183 x 207 cm       Charcoal on canvas

2012- 2016    210 x 250 cm    Charcoal on canvas


2011  "Belle vue"  Ileana Tounta contemporary art center. Athens


2008   " Charcoal overload"   Ileana Tounta contemporary art center



2012         216 x 260 cm     Charcoal on canvas



2007-2012     220 x 280 cm      Charcoal on canvas


And the stairs are made of paper

The shadow 
There once was a man whose shadow was blacker than others.  As a child, this singled him out from his entourage.  One beautiful spring day everyone was out dancing in the sun's warm rays. Suddenly, like a beam crossing the area where they were romping about, his darker shadow caused them to stumble.  Needless to say, he felt this stroke very strongly.  As an adult he could no longer do without this distinction.  As soon as the slightest ray of sun came out from behind the clouds, he walked head held high through the streets enjoying the effect he caused.  One day, when the shadow was perhaps at its darkest, blacker that ever, he caught fire.  And that is all that we know of his story. 

The flesh 
The attraction of drawing, says Jean Luc Nancy, is the line formed when two lips touch.  Where there is drawing, there is no longer speech.  Drawing silences.  There are several ways to confront it.  You can follow the lines.  Look for rhizomic sense in the branches and admire the white sky that lies behind.  Or you can drown in the blackness of the line.  Widening out instead of drawing further on.  Opening up.  And then, while waiting for a cry or song that might come out of the gap's deep darkness, air touches us.  Air that is inseparable from the flesh of the drawing. 

The surface
"Water has no beams" is a German expression.  The surface of water doesn't support someone who cannot swim.  However, depending on the speed with which a body meets the surface, it solidifies, becomes impenetrable, hits us.  To the eye, this surface is also solid, structured by waves, shadows, reflections.  It's as if the eye rubs the surface and rubbing against it causes images to appear.  The water is then, in fact, a support.  Until the moment when you slip in and realise that, of course, all these beams do not bear weight.  They call. 

The body of black – epilogue 
Katerina Christidi works with black.  She uses the tools of a painter to make drawings on large canvases stretched directly on the wall.  They are not abstract.  They're a figuration of the body and the body of the drawing.  She uses charcoal to make the black, attested to by the traces of black dust in her atelier.  Her method is to connect ends to ends.  She draws, takes notes on bits of paper, finds other images, other notes.  Joins them together.  And then gets to work on a large drawing.  Here we have some of her recipes for drawing.  And the texts are a way to get closer to those drawings, to experience them.  They create a visual effect, of course.  And also a narrative experience in the recognition of oddly familiar images.  Then there is still another element.  One the artist produces through the physical, narrative, mythical dimensions of the drawings.  The sense of touch.   Her drawings touch this body of black.  They embody the touch.  This body, so fragile that if you insist too much, you will break the tip of your nose.  Nevertheless, reach out your hand – be touched. 

May 2015, Paris
J. Emil Sennewald


Translation: Timothy Perkins




                                                       Copyright OSDEETE Athens/  ADAGP  Paris

lundi 23 mai 2016

Small size drawings 2014 - 2018






2016     33 x 41 cm   Charcoal on canvas



2015      33 x 41 cm   Charcoal on canvas



2015        28 x 33 cm    Charcoal on canvas


2014     33 x 41 cm   Charcoal on canvas



 2015      33 x 41 cm    Charcoal on canvas



  2018       27 x 35 cm    Charcoal on canvas



      2018       27 x 35 cm    Charcoal on canvas



2017       38 x 46 cm    Charcoal on canvas


                                             2017       27 x 35 cm    Charcoal on canvas


  2018      33 x 41 cm    Charcoal on canvas




2018      33 x 41 cm    Charcoal on canvas

2018       50 x 65 cm    Charcoal on canvas

2015        33 x 41 cm    Charcoal on canvas


2013        38 x 46 cm    Charcoal on canvas

                                                          

                                                     
                                                     copyright  OSDEETE Athens/ ADAGP Paris

dimanche 22 mai 2016

Collages 2016






                                                      2016   50 x 65cm    Graphite and collage on paper

   
                                                2016   50 x 65cm    Graphite and collage on paper


 2016   50 x 65cm    Graphite and collage on paper







                                                     Copyright OSDEETE Athens/  ADAGP  Paris

dimanche 15 mai 2016

Recent and revisited paintings 2011- 2018







 2018     65 x 80 cm     Oil on canvas 


 2013 - 2017     90  x 130 cm     Oil on canvas  


2013 - 2017     90 x 130 cm      Oil on canvas



2013 - 2017    180 x 220 cm     Oil and charcoal on canvas



2018   65 x 80 cm   Oil on canvas  


                                                          
                                                      2018   65 x 80 cm   Oil on canvas     
                                  

 2018   65 x 80 cm   Oil on canvas

2017   65 x 80 cm   Oil on canvas



2013 - 2017    65 x 80 cm     Oil on canvas



2018   90 x 130 cm   Oil on canvas 



2018   65 x 80 cm   Oil on canvas



2018   90 x 130 cm   Oil on canvas 




2011 - 2018    33 x 41 cm     Oil on canvas



2011 - 2018    33 x 41 cm     Oil on canvas


                                        

                                                 copyright  OSDEETE Athens/ ADAGP Paris