Everyday life is strange, when grown in a strange land.
Thomas Mann, The Magic Mountain
The first stimulus from where Katerina Christidi draws the material for her work is the observation of people's everyday life in their environment, their relationships, attitudes and behaviors, all those who betray the multifarious and contradictory human nature. All these shifts and organizes again in stories enriched by her personal views, putting the players in situations where initially will not be found.
Her research focuses on the creation of a world where vague figures coexist with split, unknown landscapes. The logic of the work based on the decomposition and recomposition of a combination of elements opposing, added on top of one another or end synnchonefontai to express an unstable situation between multiple realities.
The artist tries to bring out a sense of swing and uncertainty about where we actually, through a dialogue of different levels of representation. Forms are linked together by a controlled unexpected development, since the building process of -protarchikis important work for it-in a way associative with successive layers until the picture. This building style allows the creation of a channel between the conscious and the subconscious.
"Katerina Christidi works gradations of black. He uses painting tools to make designs on large canvases. These are not abstract designs. We recognize bodies. For some of them would say that it is the body of the plan itself. The artist works gradations of black using charcoal • witness the black dust tracks in the laboratory. Starts a quote heterogeneous elements. Plans, notes on small pieces of paper, collects images on which drops randomly xanasimeionei, sticking slowly the whole wall. Then begins a large-scale project.
The plans surely offer a visual experience, but one narrative experience, making us recognize strangely familiar images. And another thing: what brings the artist through the physical, narrative, mythic dimensions of the project, is the challenge of touch. The plans of touching the body of the black gradations. Integrates the touch. It is this fragile body. Approaching close danger to hit the tip of our nose. However, let's take the risk to let go This rests the touch. "
J. Emil Sennewald, Paris, May 2015
Extract from the list Les escaliers sont en papier
translaction by google

opening reception : Thursday, September 15 at 19:30

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