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Cover series: #8 Despina Charitonidi

Alma Contemporary Art Gallery

24, Ypsilantou Str., 10676 Athens Drive me

Groundless Records

curated by Yannis Bolis
Admission: Free
Opening: 04.06.2019, 20:00

Wednesday, Saturday: 12:00-16:00
Thursday, Friday: 12:00-20:00

Add to calendar 2019:06:04 20:00:00 2019:06:29 23:29:00 Europe/Athens Groundless Records Groundless Records - More informations on /events/event/2344-an-edafikes-katagrafes Alma Contemporary Art Gallery Yannis Bolis

“In my present work I emphasise mostly on deleting, rather than on writing”, says Katerina Mertzani, explaining her new project. Ground-less Records. “I want to create visual false memories. Reversing shapes, colours and positions I convert landscapes, whose space is in the memory, into utopias that must find their space in the memory. If it were to find room in memory for utopia, utopia must last in time. So I, in order to embrace it, I blur parts of the natural recollection. However, I never really delete. Overlaying with semi-transparent, iridescent colours, I leave the first picture half visible under a ground-less coating. And with interference colours I create an ambivalent or multi-faceted viewing. With these consequent layers, I give the viewer the chance to “savour” the visual stages through which the project has been through or, if you like, I create a kind of visual time. When I paint in layers using luxurious, shiny colours, it is as if I adorn or honour time itself, I declare it luxurious whatever its content has been. In this project I keep working on an idea that has been nagging me for some time now: on how can anyone, combining genuine, traditional luxury with cheap, pop glamour, create for themselves a personal, more or less utopian space where they move and act. The conscious combination of luxurious and cheap products in our lives today has pushed the, so-called, kitch beyond its boundaries and has left everyone with unlimited possibilities for an absolutely personal stylisation”.

Katerina Mertzani's art, through her personal development and constant experimentation, confirms her expressive power and truth, her originality and poetry, her consistency and coherence in her morphoplastic quest. Her compositions renegotiate, in a modern way, the issues of abstraction and painting procedure-act; they focus on the purely artistic values and the function of the colour; they incarcerate energy and intrinsic tense; they reveal a thin morphic game of contrasts and routes between order and disorder, discipline and instict, strictness and spontaneity. Colour specks and forms construct the painting surface, they develop freely, they contradict each other, overlay or penetrate each other, they create a multidimensional field of transfigurations, transformations and “ground-less records”. Relying, as she says herself, on the way the work itself leads her, without any drafts or initial calculations, Mertzani invests in randomness, in the freedom of the gesture, of the automated mental manifestation and capture. Although her works give the impression of an intentional shapelessness, they include and reveal the existence of an internal pace which holds together and brings balance to the total. They are pictures of another dimension, of a “place” seen from above, of a constantly changing and moving landscape, of a reality that comes from the subconscious, the background, the experiences and the emotional states of their creator, depicting her vital relationship with the world. They are pictures that emerge and impose themselves with their aesthetics, that refer to something more than the obvious, that address and communicate, that insinuate the course of time and the circle of life.

Groundless Records