She scratched through the surface layer of paint in various rooms already in a ruinous state to reveal below a paint coat of darker shade, she used the contrast to expose the portrait of each poet, leaving the piles of scratched paint dust on the ground. Each room was darkly lit with a very traditional oil lamp. Readings came from a half open closet or from under a stair well. One of the major pieces was a group image of 'unknown poets' who died by suicide guns, one for each of the number of them, attached pointing into the wall. A dark piece but very very beautiful both in its materiality of residue and ruin but also in its revelation of tones from scratching the walls to expose the ghosts of lost souls. This was the first exhibition I saw and in many ways it set the agenda for the studio influence on these graduating students in terms of leadership regarding use of ruins as essential materials and as a philosophical understanding of history in ruins.
Τετάρτη 2 Ιουλίου 2014
Βy Gertsakis for Magdas Christopoulou degree exhibition... English text
She scratched through the surface layer of paint in various rooms already in a ruinous state to reveal below a paint coat of darker shade, she used the contrast to expose the portrait of each poet, leaving the piles of scratched paint dust on the ground. Each room was darkly lit with a very traditional oil lamp. Readings came from a half open closet or from under a stair well. One of the major pieces was a group image of 'unknown poets' who died by suicide guns, one for each of the number of them, attached pointing into the wall. A dark piece but very very beautiful both in its materiality of residue and ruin but also in its revelation of tones from scratching the walls to expose the ghosts of lost souls. This was the first exhibition I saw and in many ways it set the agenda for the studio influence on these graduating students in terms of leadership regarding use of ruins as essential materials and as a philosophical understanding of history in ruins.
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