Synthesis No.2

Applied Arts at Aristotle University in Thessaloniki. After working for several years as 

art teacher, she moved to Germany, where she completed a Master of Fine Arts at the 

Alanus University of Arts and Social Sciences, graduating with distinction, and 

master’s year under the supervision of Dr Prof Ulrika Eller-Rüter. Evangelia’s works have been exhibited in solo and 

group exhibitions in galleries both at home and abroad, including Pavillon 0, Guidecca 

Venice, MOMUS Greece, the Women’s Museum in Bonn, etc. Her work is also part of the collection 

Mary Bauermeister. She works in Gelsenkirchen.

EDUCATIONAL BACKGROUND

2020 – 2021 // Master’s student under Prof. Dr Ulrika Eller-Rüter, Fine Arts, Alanus University of the Arts and Social Sciences.

2018 – 2020 // Master of Fine Arts, Alanus University of Art and Society | Germany 

2000 – 2008 // Thessaloniki School of Fine Arts, Aristotle University | Greece

2004 – 2005 // Scholarship, Bellas Artes, University of Valencia | Spain

SOLO EXHIBITIONS

2025 // “EDELWEISS”, Werksatt, Gelsenkirchen | Germany

2021 // “THE NATURE WITHIN ME”, Fabrik 45, Bonn | Germany

GROUP EXHIBITIONS (SELECTION)

2024 // “le sexe, tout un art!”, Maison Culturelle e Quaregnon | Belgium

2022 // “Werkschau02”, Kabinett West, Cologne | Germany

            // “PROMISED LAND”, Altes Pfandhaus, Cologne | Germany

            // “Less is More”, Künstlerforum, Bonn | Germany

2021 // “ARCHE”, Pavilion 0, Spacio Bocciofila, Guidecca | Venice

            // “Nahtstellen”, Frauenmuseum, Bonn | Germany

            // “Visual Arts Tour”, Graduates | Alfter Castle

2020 // “WHITESPACE” at Naturraum, Rösrath | Germany<br>

            // “ENTBRANNT”, Mary Bauermeister’s Studio, Oberagger | Germany

2019 // “VERBORGEN”, Aliseo art Project | Gengenbach

WINDOW DISPLAY

2021 // COCO-MAT Düsseldorf | Germany

As an artist, I am interested in marking, repetition and transparency. The marks I create with the scalpel are neither aggressive nor crude. On the contrary, they are elegant, delicate and subtle in such a way that the concept might be perceived by the viewer’s subconscious whilst interacting with the piece.

The marks complement and coexist harmoniously with one another, in a balanced sequence achieved through repetition. Through them, my work becomes transparent in many respects, both literally and figuratively. When my piece is hung, light and air flow smoothly, freely and unhindered through it. The viewer’s eye encounters no obstacles and they can see the piece as a ‘whole’, regardless of whether they stand in front of, behind or to the side of it. 

My work contains no hidden or complicated messages, nor does it aim to confuse or challenge the viewer’s eyes, feelings or thoughts. Instead, its purpose is to bring feelings of harmony, fulfilment and joy to the surface, and to remind people of the essence of ‘beauty’ and its effects on the mind, heart and soul.

The colour white in my work is semantic. I find white – the convergence of all colours into a single colour – monumental and cosmogenic. You need a white surface to bring out all colours, and a surface needs all colours to become white. White carries the life energy of all colours and is, at the same time, the definition of ‘tabula rasa’. It represents everything and nothing. For me, it represents purity. It also represents the ‘Whole’. In white, I see an infinite cycle of nothingness and order. It evokes for me the idea of sterilisation, death and rebirth.