{"id":86892,"date":"2023-10-05T14:42:17","date_gmt":"2023-10-05T14:42:17","guid":{"rendered":"https:\/\/www.emst.gr\/?p=86892"},"modified":"2023-10-12T14:24:58","modified_gmt":"2023-10-12T14:24:58","slug":"chryssa-from-the-newspaper-book-2","status":"publish","type":"post","link":"https:\/\/www.emst.gr\/en\/works-from-the-exhibitions\/symbiotics-en\/chryssa-from-the-newspaper-book-2","title":{"rendered":"Chryssa. From the Newspaper Book"},"content":{"rendered":"

\"\"<\/p>\n

Chryssa (Vardea)
\nFrom the Newspaper Book<\/em>, 1962
\nInk on paper, 87 \u00d7 64 cm
\nProof Edition
\nDonated by Mark Cortale on behalf of the Litsa D. Tsitsera Collection, 2021
\n\u0395\u039c\u03a3\u03a4 Collection<\/p>\n

The two drawings by Chryssa (Vardea)<\/b> entitled From the Newspaper Book<\/i> (1962) are representative examples of the creative period 1958\u20131962 when the visual artist explored the possibilities provided by the space of the printed surface, as well as the formal and expressive power that emerges through the relationship between text and image. The artist prioritised strict geometric organisation and the systematic repetition of information, whose content she never shows as a whole. Conversely, by shattering the language, enlarging and highlighting letters and words, intervening in ink, and crossing out parts of the work with free gestural brushstrokes, she renounced the narrative representation of information. The result is a linguistic game where readability is inhibited and writing becomes form, requiring decoding and reinterpretation. In the final abstract composition, the quality of the painting and a trace of the alphabet prevail. Letters and words exist as fragmentary statements, as a pretext for communication. The questions that emerge pertain to the way messages are conveyed, the reality of information, and communication development.<\/p>\n

\n

Biography<\/p>\n

Chryssa (Vardea-Mavromichali, 1933\u20132013) was born in Athens. She studied at the Academie de la Grande Chaumi\u00e8re in Paris (1953\u20131954) and the California School of Fine Arts in San Francisco (1954\u20131955). In 1955, she moved to New York. She drew her inspiration from modern life images and metropolitan incidents, emphasising the signs and symbols that prevail in the written discourse of mass communication, print media, and (advertising) signs. A purely artistic approach to linguistic symbols had already begun to show in her early works. In the 1960s, her practice developed using neon tubes in various shapes and colours. In her often large sculptures, the artist implements several techniques and materials that stand out for their technological nature. She expressed her vision through the play of light, the harmonious organisation of her compositions, iconic ideograms, and discreet references to Greek antiquity, Byzantium, and female identity. She presented her work in numerous solo exhibitions in notable galleries and museums across America and Europe. She participated in group exhibitions and international art events, such as the S\u00e3o Paulo Biennial (1963 and 1969), the Venice Art Biennale (1972), and Documenta 4 in Kassel (1977).<\/p>\n

collection.emst.gr\/artists\/chryssa<\/a><\/p>\n

ALL WORKS<\/a><\/h3>\n