Metronomos 2017

My intention when I work is to realize the wold existing in my imagination. The sense of time is lost and memories and images of fantasy and dreams intertwine in a network.

 

 

Metronomos 2017

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Eyewitnesses 2015 - 2016

After a great change in my personal life, a new set of works began: The face itself is the network and the maze, where every person, when closing their eyes is the cluster of thought and wandering. The process does not need violence anymore, but with water and watercolor materials, it follows the natural flow of things.

A feeling of documenting or archiving the everyday.

Faces that form networks - networks that form faces. Eleanna Martinou in her most recent work, approaches the function of the mask as a social facade by presenting two installations: One of watercolors and a sculptural, three dimensional one. Drawing her portraiture from facebook, the artist creates a wider grid for each of the masks. The transparent nature of the watercolor reveals the camouflage and this way the interpersonal relationships and the online friendships are depicted as a network full of empty spaces and flaws. On the points of connection, the color reflects the rhythm and the emotion, always in the poetic idiom that characterizes her work. The Eyewitnesses are constructed by malleable connections, connections on the verge of fragility and they seem to be fluid just like their gaze.
Eleanna Martinou this time too continues to explore the concepts of network and rhythm, as in her previous solo shows.

 

Eyewitnesses 2015 - 2016

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Imaginary Metropolises 2009-2014

My intention when I work is to realize the wold existing in  my imagination. The sense of time is lost and memories and images of fantasy and dreams intertwine in a network.

Until recently, through an effort to defend myself by forcefully enforcing my presence in the world, works have emerged where the process itself was a lasting escape from the existing reality. One of these actualizes fantasies is the series of Imaginary Metropolises where anger was the vehicle through which I attempted to become lost in a journey through space and time.

The body itself, condensing in the gesture anger and the fantasy for a journey in time, gets to be portrayed as a conflict of white and black, in constant rotation and competitiveness. The surface was always an impenetrable wall where the sound of percussions often accompanied the composition.

The result was a series of large-scale works consisting of superimposed surfaces, a set of grids, among which often elements that refer to Prisons, Stairs and maps of Metropolises are distinguished; all these reffering to dystopia.

 

The thematic unit Imaginary Metropolises explores the hybridisation of individual and social identities in contemporary cities.

I am interested in illustrating the construction sprawl across the planet, a mesh of itineraries, a different aspect of the face, individual choices of different destinations on a path of unknown beginning or end. I attempt an artistic mapping of chaos.

The body of works depicts the random drift in the big city, on traces branching out like streets on a map.

The situationist drift is the structural element behind the construction of images where multiple layers of events create a mesh of intersecting trajectories, whose densities increase or decrease like in music.

With the abolition and reconstitution of form evolves the idea of a new global community, without beginning, middle or end.

 

Imaginary Metropolises 2009 - 2014

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