o.T.
| Edition | Original Art |
|---|---|
| Sujet | Landscape |
| Technique | Sculpture |
| Height | 80 cm |
| Width | 60 cm |
| Length/Depth | 5 cm |
Paper cut-out, acrylic and spray paint, 2 sheets
(one sheet is coloured, at the back; one sheet is cut, at the front)
2024
This artwork was created using the paper-cutting technique.
Paper-cutting is an ancient technique found in many cultures and dating back to the earliest civilisations. The art of paper-cutting is based on the fundamental principles of balance and beauty in harmony with nature and its physical elements.
It is the art of creating a design on a sheet of paper and cutting out pieces of paper through small, precise and symmetrical cuts using a sharp object. This painstaking technique requires the artist to exercise a high degree of precision and care, given the delicacy of the paper and the sharpness of the scalpel.
This artwork consists of two sheets of paper set within a 3D frame. One is on the front and one on the back of the frame. There is a gap of approximately 4 cm between them. This structure gives the work a three-dimensional quality. All cuts and details are made using a surgical knife (scalpel). At the end of the cutting process, the paper is coloured as required and left to dry naturally before framing.
The artwork will be on display until 28 February 2025 inclusive. It can be dispatched from 29 February.
The artwork will be sent in a 3D frame.
Reservations accepted
Evangelia
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.
