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Retroaction 1981 Triadic Ballet '84 1984 STUDIO METAPLASI Cobra 1984 Retroaction 1981 Cobra 1984 Cobra 1984 Modular system
Installation - Coffee table showroom, Modular system Sculpture Modular system Computer generated drawings
Performance Plate glass top, Kolonaki Athens 1985 with cabinets Cobra 1984 Handle detail of possible combinations
Luna 1984 lacquered wood legs Interior views MDF frame in lacquer, Modular system Cobra 1984
Sofa in 5 colors rubber handles Photomontage Modular system with drawers MDF frame covered
Triadic Ballet '84 1984 and rubber fittings Each unit 36x80 h36 cm in plastic laminate, mirror, rubber
Coffee table 110 h36 cm Modular system with cabinets MDF frame
Photomontage
veneered in bird’s-eye maple and pommele, rubber
Modular system with cabinets, drawers
MDF frame in lacquer, rubber
Dias 1984 Chairs
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Fashion shoot Sophia 1990 BIO 10 Ljubljana 1984 Mare 1989 Bed with night tables
in STUDIO METAPLASI showroom, Bookcase with desk, cabinets, drawers Biennial of Industrial Design Flamingo 1989 Dressing table
published in GYNAIKA magazine, MDF frame covered in plastic laminate Exterior view of exhibition building Colibri 1989 Stool
Athens, Summer 1985 273x60 h240 cm Limited edition Exhibition views MDF frame veneered in glossy bird's-eye maple
Flamingo 1984 Dressing table Colibri 1984 Stool With Flamingo 1984 Dressing table and walnut root, gilded wood, bronze, mirror
MDF frame covered in plastic laminate, and Colibri 1984 Stool Limited edition
lacquered wood, mirror, metal Sophia Zoubouli on Colibri 1984 Stool
150x40 h145 cm 43x36 h38 cm Limited edition
Mare 1984
Bed with night tables
MDF frame covered in plastic laminate,
lacquered wood legs
300x220 h93 cm Limited edition
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Flamingo 1989 Glitterati AT HOME WITH THE WORLD Chicago 1986 Homer 1989 STUDIO METAPLASI Aztec 1989 Helios 1989
Dressing table of the design world The Merchandise Mart / Expocenter, Chicago Stool advertisement Stool Bar with cabinets,
Colibri 1989 “immune to trends” Exhibition catalogue Black painted insert in Solid mahogany drawers
Stool Article View of STUDIO METAPLASI stand tubular steel frame, NITRO magazine, frame, Solid mahogany
Limited edition by Dylan Landis, upholstered Athens, lacquered wood, columns,
CHICAGO TRIBUNE leather seat November 1995 bronze, Plexiglas MDF frame
newspaper, 38x40 h90 cm 57x57 h84 cm in purple lacquer,
Chicago, 11 May 1986 Limited edition plate glass shelves,
mirror
260x40 h250 cm
Limited edition
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We know and feel that it is not just an inner call that makes you start You start telling me about a rubber diaphragm which divides two worlds Palindrome III
practising art. and on which the whole body vibrates.
Energies you cannot control at first, and which I, on the contrary, begin
Late at night when, oblivious of the time, you talk about art, there are The concept of the palindrome involves for us a reverse reading
moments when you realise with a sense of panic that you have conceived to control once I capture you with my eyes, with my emotions unbridled.
and there is no way back, and you cannot think where the seed that If you have truly fascinated me, you no longer need to convince me. of history. The concept of fluidity in art is also of the utmost
fertilised you may have come from. Moments of mystery when you try If I experience your dreams the moment you make them, I also occupy part significance in our work.
to trace the provenance of a concept or a feeling, irrespective of its external of a common dream: the conception of a real world beyond the time
features, which is still in gestation and has yet to reach its final form. and the space delineated by the specific era in which we happen to exist.
Palindrome in aesthetic interpretation, palindrome in the process
That's where our contact begins. Around dawn the dreams begin to fade away and, with heads numbed
from tension, we seek the memories of the moments we lived. There remain of expression.
The over-stimulation we experience at such moments becomes a shared
experience because we yearn to communicate, because I try to see what images of constant pulses and vibrations of the body and the mind. And all Action and material together can realise a palindrome course;
these images together become the dream we experienced in the night,
you are thinking, see how you vibrate, and because you try to see how far
you have touched me. at once together and separately. they can revive, annihilate or destroy the image they create.
The only medium of actual, tactile communication is ourselves as we are. When the time came to described, you talked about art in your own The body also grasps this form of expression and leaves its imprint
language.
Our body attests to our existence. The way in which we exist is revealed
to me by your gestures, your communicative actions, the pulses emitted That's where our ways part again. through the material.
from the depth of your subconscious.
You talk about an existence which you believe belongs to you, because Efi Strousa An imprint which transfers on the outside the experience of action
you take the liberty and the responsibility to remould it into a different form May 1980
from that attributed to you by conventional perception, because in time.
you 'absurdly' transform the photograph on your social ID to look like one
of your pulses. Yet at the same time you know that you coexist with so many And yet I continue to dream now, before what that which has been A twofold relation with the work, a twofold vision of the work.
other beings, all condemned to the illusion of a phoney self-recognition When we function from "inside" we also exist on the "outside".
in images made under another's will and programming and are products programmed.
of conscious compromise. A mould is telling me about a life. On the outside, an application of purely traditional values
The knowledge and awareness of this is your artistic pedestal. Do you wish A slide casts shadows on an inanimate surface.
to stand up on it and speak about all this in images, symbols or ideas? It is talking about memories I should like to see again. and a further use of technological means and materials together
No, you are afraid to create a world of foreign dreams which will bring
the other party to a condition of intellectual contemplation of you. You are And you go and touch them with a pencil to convince me that something with natural elements.
afraid lest it removes them from where you want to feel them; did exist indeed, but how it existed…
from your guts, where a subconscious urge to express and create I don't have to know this. Conflict and coexistence.
is gradually gestated, formulated and finally released. So I am going to act again uncontrollably, against the laws, A re-composition of new images and concepts, resulting from
You cannot see your own pulse. within my own dream the conflicting coexistence of time and space, of the various media
Now you know that the origin of the seed which created it is not exclusively which I am building with my eyes open.
your own heritage. When through art you can make me see and feel this vitality in a soulless and materials, which extend into the central point of the changeable
It comes from a distant, unspecified time.
It is common heritage for anyone who wishes to keep it. stance, what happened is that you really did love it, you lived it, image-man.
you penetrated it and perhaps you have fertilised it.
But how can you convince them that it is so?
In the middle of the night we continue to dream at will, no matter which way E. S. Zouboulis - Grekou
the programmed evolution of the surrounding world may go.
.......................................................................................................................... Athens, April 1983
Drawings 1985-1989 Essay Untitled 1981 Untitled 1981 Palindrome III Palindrome II
Pencil and colored pencil on paper by Efi Strousa Sculpture Sculpture Catalogue text Goethe Institut,
Athens, May 1980 Fiberglass, Detail by Nikos Zouboulis Athens 1982
white lacquer and Titsa Grekou Still
110x90 cm for group exhibition from Installation -
EMERGING IMAGES, Performance
Athens, April 1983 With Nikos Zouboulis