Giannezi’s artwork is focused on the three-dimensional depiction of the physical and the urban landscape, mostly through paper installations, processed by scalpel.
Theano Giannezi
The search of human nature
Text: Sofia Papageorgiou
For visual artist Theano Giannezi, the process of evolution for every artist requires an honest desire to comprehend themselves and the world around them in new ways. “Through this incessant process of discovery not only do you expand the boundaries of your art, but you also contribute to the wider effort for the understanding and unity of mankind,” she stresses.
Her constant quest led her to Indonesia, and she cannot hide her excitement over this experience. “Indonesia was a key chapter both in my life and my course as an artist. I had originally planned to stay for a year, as I had earned a fellowship, but the pandemic
overturned my plans and I ended up spending two and a half years there, up until December 2021. On one hand, I was all by myself in an Asian country amidst the pandemic. On the other hand, I feel so lucky to have known first-hand a different culture, the traditional and contemporary art of Indonesia, while being surrounded on a daily basis by the beauty of a tropical landscape. My stay there served as an artistic and cultural wake-up call, but was also coupled with a series of important challenges,” she mentions.
“My integration in the country’s society was no easy thing, especially being a woman, an artist and of a different religion,” admits Theano, while pointing out that the stereotypes were deeply rooted in the local community. “Despite the difficulties, I made friendships and forged bonds, while learning a lot about endurance and adaptability. When I finally got back, I felt changed as a person. Indonesia was not just a valuable experience for me as an artist, but also a test that urged me to reevaluate myself and my values,” she went on to say.
“The total of my artwork is focused on the three-dimensional depiction of the physical and the urban landscape, mostly through paper installations, processed by scalpel. Repetitive motifs and gaps within my installations trigger contradictory connotations, inviting the viewers to ponder over the interaction between presence and absence, as well as the relation between stability and the void,” she says of her works. “This approach does not only get the visual senses involved, but also encourages a deeper exploration of the spatial relations and the psychological dimensions that affect perception,” she notes.
“Through papercutting I attempt to create detailed and subtle structures that reflect the complexity of human consciousness, seeking to dig deeper into the web of thoughts, feelings and behavioral forms. The three-dimensional depiction, combined with positionary conventions, enhances the sense of depth and interactivity, inciting the viewer to reflect on their personal experience with regard to space. In their core, my works aim at portraying a wide gamut of feelings, from cheerfulness and love all the way to fear and despair. The goal is for these feelings not to be presented separate from one another but interconnected, mirroring the often contradictory nature of human substance, both mental and emotional,” she explains.
“Artificial environments developed within dim boundaries delve into cognitive processes such as memory and perception, exploring how our memories influence the sense of space and how we grasp and interpret the elements around us, while expressing a need of escapism and denial of any strict limitation, a symbolic spatial freedom,” she concludes in an effort to describe her works.
Within the framework of the art hospitality program hosted by Phoenix Athens Gallery came up the work FOVEA, as an outcome of two weeks of painting, papercutting, research and experimentations, revolving around our vision and perception of everything that surrounds us, (also) through a projection of a surgical eye operation, which serves as a blunt simile of reality. “In my previous visual art installations I had focused on traditional materials and methods, developing the intertwining of form and function. Through this process, I appreciated the importance of harmony and balance in my work, which set the bedrock for my most recent visual art installations. My latest works, EQUILIBRIUM and FOVEA, draw inspiration both from biology and psychology, aspiring to capture senses in a representational manner,” she mentions.
“In EQUILIBRIUM I incorporated a series of depictions of ears, using various materials, while combining sounds, biphonic pulsations and frequencies. The work examines the notion of balance both internally and externally, creating an almost ritual experience that harmonizes the senses with the surrounding space,” she notes. FOVEA portrays the inner structure of the eye, with every level positioned in such a way that it challenges the definitions of time, space and depth. “The projection of a surgical eye operation criticizes our detachment from pain and death in modern societies. The work implies that even though we keep our eyes open, we often fail to really see or feel, trapped in a world where selective vision numbs our awareness.”
In their core, my works aim at portraying a wide gamut of feelings, from cheerfulness and love all the way to fear and despair. The goal is for these feelings not to be presented separate from one another but interconnected, mirroring the often contradictory nature of human substance, both mental and emotional.
For Theano, these works mark a broadening of her technique. “By incorporating materials such as paper pulp, plaster, fabric and plastic membrane, I try to bring together visual and audio technology, through projections of moving images and audio simulations of brain waves. The visual elements were harmonized with sound and light, while the fluid structure of the works and their positioning in space offered a dynamic experience that takes a close
look at the balance within us and around us.”
She has traveled in many parts of the world, having taken part in collective exhibitions and festivals. “Upon completing my studies at AUTh’s School of Visual & Applied Arts in 2016, I was given the chance to showcase my first works as a professional artist at Zina Athanassiadou Gallery, the Macedonian Museum of Contemporary Art and the GLO’ART foundation in Belgium. In 2019, the Darmasiswa Scholarship Programme offered me the opportunity to study the traditional technique of the Wayang Kulit shadow puppetry in Indonesia, and exhibit my works both at Jakarta’s National Gallery of Indonesia and the cultural art center Taman Budaya, while being accepted as an artist in residency at the Paper Moon Puppet Theater and the Krack studio in Yogyakarta. These experiences strengthened my expressive identity as an artist and pushed me to constantly seek a deeper understanding of the contemporary visual art trends. Journeys have always been a process
that fuels my thinking, inspiration and perception of the world, offering a multileveled experience that is embedded in my art,” she adds.
She was born and raised in Thessaloniki, whereas her first spark for graphic design dates back to her early age. She has vivid memories from the graphic design agency owned by her mother and her aunt, where she had the opportunity to experiment with different materials and textures. “As I grew up, my desire to follow the path of visual arts became stronger and stronger. As a teenager, in tandem with the Music School of Thessaloniki, I decided to pursue my vocation towards the visual arts. At AUTh’s Faculty of Fine Arts I had the chance to go deeper into the study and growth of my skills. In my university years I found priceless inspiration in my fellow students, as we jointly explored the most up-to-date visual art tendencies and broadened our knowledge on the means and the stimuli each one of us was interested in. The exchange of ideas and the talks we had shaped our identity as artists and enabled us to develop a more profound apprehension of the methodological and conceptual practices,” she recalls of her years as a university student.
In addition to visual art, she’s also into music, which she plans to make part of her upcoming artworks. “Music has always been an integral part of my life. As a child I followed classical studies on piano and cello, but the electric bass is the instrument that won me over. Since the age of 18, I have been playing in various bands, exploring genres such as garage, indie, new wave, surf and psychedelic rock. My most pivotal experience in music came as a member of Craang, as we released two albums and went on two tours; all this up until 2017. Despite being inactive over the last few years, the idea of a reunion is still on the table. This year, my plan is to incorporate the audio element in my installations, combining these two two art fields as part of a more fully-rounded creative approach,” she reveals.
In Indonesia, she had the chance to acquaint herself with the art of batik, a dyeing-painting technique using wax on cloth. In fact, she was so overwhelmed by the experience that she ended up creating her own collection. “In my free time, I began to print designs on fabrics made by acacia and eucalyptus fibers, creating a small-scale collection that included kimonos, dresses, shirts and scarves. These creations combined traditional techniques with modern designs, reflecting the influence of Indonesian culture on my work. Last August, I decided to revisit the place I used to live so as to renew my collection. I plan to re-release it and make it available in Greece, offering the chance to my friends and all those who follow my work to get to know this aspect of my creative work.”
A match-made in heaven for her would be to showcase her visual art installations in some of the most iconic London-based galleries, such as White Cube, as well as in some of the top-notch art institutes situated in New York and California. “In contemporary art, I notice an ongoing exploration of the limits of expression and perfection, as artists entertain the idea of new possibilities and perspectives. Through the use of new technologies, innovative materials and different means, contemporary art challenges traditional boundaries, bringing forth new forms of interaction and interpretations,” she stresses.
No surprise, therefore, that our talk shifts to the up-and-coming artists, the challenges and opportunities of the modern digital era. “Even though technology offers tools and platforms that can enable access to art and its promotion, the financial aspect remains a thorn for many young artists. However, the digital era can indeed subdue these obstacles. Social media platforms, websites and online galleries allow the artists to showcase their work to a wider audience, alleviating a part of the financial burden. Art has long been considered a privilege for those having all livelihood issues resolved, but the digital era gives us the power to question this rule. Success may occur as a result of persistence, innovation and the ability to make use of all the available means,” she concludes.
Bio
Theano Giannezi is a visual artist, born in 1991 in Thessaloniki Greece. After completing her studies at the AUTH University of Fine Arts, in the department of Visual and Applied Arts in 2016, she exhibited her first professional pieces at the Gallery Zina Athanassiadou, the Macedonian Museum of Art and the Art Institute Glo’Art in Belgium . In 2019 she won the Indonesian Scholarship Darmasiswa and completed her studies in ISI Yogyakarta, majored in Wayang Kulit shadow play theater. During her stay in Indonesia she exhibited her art projects at the National Gallery in Jakarta and the Taman Budaya Cultural Center, followed by a residency program in Paper moon Puppet theatre in Kasongan and a solo project in Krack printmaking Studio in Yogyakarta, in 2021. Upon her return to Greece, she received the 3rd award at the Art Thessaloniki international Art Fair as part of MATAROA 2022 where she reintroduced her work to the artistic audience of Greece. From 2023 she is in charge of the creative space “Toss Gallery” in the center of Thessaloniki
