Antonia Eleftheriou: t h r e e . d i m e n s i o n a l . d r a w i n g . s e r i e s / # 1

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This work is building up around the core of found objects, portraying what could be characterised as intricate and entangled three dimensional drawing. Embedding those elements of 3-D nature, the work simultaneously explores the concepts of forced construction, deconstruction, identity, belonging, abstraction, shapes and lines by radically accumulating the space. Focusing on the affairs of items which have a history, that are claimed as useless and waste and the control I introduce in the process, the work is a celebration of their ‘natural’ flaws, and a witness of my journey working entirely intuitively. Having no specific methodology or ‘plan’ for what is going to be created, the objects are assembled and put together as pieces of a puzzle.

Exploring the ideas of accidental, control and restrains, the main source of the development of the work is photographic documentation of my house of 20 years being demolished and reconstructed. Not only that, but also my daily encounter with the world, and elements I find intriguing. Such elements tell more about a building, a city, than anyone would ever know. Each crack or small curving on a wall tells a story, one that fascinates and urges me to create scenarios in my mind. Similarly, the dilapidated conditions of the objects I collect are dynamic, with each act of disregard, the object shows its history and every single trace is something to be admired, and enhanced in the process of creating. The use of recycled objects refers up to an extend to Phyllida Barlow’s work. The level of their recognisability provides a hint to the viewer about what the work is about, but through altering its context, it creates a veil of mystery around them transforming them to something paradoxically unrecognisable. The viewers would translate the work influenced by their own experiences and identity, which is something that could be quite revealing.

Somewhere along the lines of creating the work, the reflections of my own identity and experiences, surround and embody the identity of the objects. It begins by being ‘fixed’ on working with the idea of my old house, and consequently I find myself calling back to that place, recalling memories. It is perhaps the feeling that I lost a significant part of me, my heritage that is urging me to seek the sense of belonging and aim to achieve catharsis through the work I produce.

The use of latex, strings, wool, hessian, wire, chord, mesh, and resin create an elaborate concoction, from which the core, the soul of the work is framed and formed with lines; soft wool lines, fine delicate thread, sharp mesh and hard plaster. They create a ‘messy’ environment with cluttered objects, for which the viewer is unsure of, reminiscent of the ones by Angela De La Cruz, Jessica Stockholder, and Heringa/Van Kalsbeek. Nonetheless, it is a ‘mess’ which resembles a spider’s web, a magnet, a strange kind of explosion, something that has been pulled out from the sea, an organic environment of some sub – species or remnants thrown by a tornado. The colours remain earthy, organic, and the only strong touches of colour are blue and orange. These are passed on heritage elements from my old house which I remember very vividly being dominant in that environment.

Having traces of Tatlin and Constructivism, but also the contemporary influences of architect Lebbeus Woods, Ian Dawson and Fabian Marcaccio, linear shapes or curved and effortless, jump from the sculptures. Having a physical interaction feels more as if I'm painting or drawing. Thus, by presenting them as paintings, the conservative norms of what the established principle of painting, sculpture and drawing actually is are broken, and subsequently address this issue to the perception of the viewer.

I invite the viewer to experience, investigate this somehow unusual body of work, which clearly demonstrates their spontaneous process of making. Feeling truly content and in a good place for creating future works, this body of art is of particular significance to me. There was no unsuccessful work, as from those I learned how to handle materials and ideas. This work speaks the most about me as an artist, and it is a tool that shows how strongly I relate with the objects I am working with to produce art that unabashedly expresses questions, suggests and redefines unexpectedly the identity of the objects, myself, and the viewers.