Peter Xenakis was born in 1957 in Chania, where he lives and works. in 1975 he moved to Rome where he studied painting at the Academy of Fine Arts in Rome, with Professor Alessandro Trotti. After graduating in 1979 he is going back to Chania where he taught art classes in secondary school until 1992. From That period, Petros Xenakis devoted himself exclusively to his art of painting.
Figurative artist, Petros Xenakis master the realisms techniques developed in the marine series but also in portraits. Some of his work can also be referred to symbolism school his anti-idealistic styles which were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. As a reaction in favor of spirituality, the imagination, and dreams, Petros Xenakis shows all his talent in the biblical series from 2012.
Christina Fytili is an Athens based artist whose practise is that of a highly skilled and intensely dedicated gestural painter. She studied at the School of Fine Arts at Aristotle University in Thessaloniki, where she started to develop her individual style and approach. Fytili moved to Italy to complete two post graduate programs: Art Therapy (Accademia di Belle Arti, Macerata) Master of Special Education (Universita degli Studi di Roma Tre). Her work in art therapy and education has added to her belief in the power of art to heal the hurt, nurture the mind and expand the horizon. It is this ability of art, to encapsulate and carry the vast spectrum of human emotion, that Fytili utilises in her profoundly personal but at once universally accessible works of multi sensory experience.
Fytili’s paintings are created using a dynamic mix of component materials including canvas, wood, plaster, wood glue, powder hagiography, filter coffee, sand and zinc. Her chosen media act as vessels of direct experience rather than indirect filters of reality. The tools Fytili employs in the construction of these pieces are set as inclusions in the final composition.
Representing the emotional and experiential fluctuations of existence the surfaces of her works are as changeable as that that they represent. In places thick densely layered texture gives way to a more finely constructed plane. The viewer is invited to experience the works fully through sight, touch and sent allowing for a personal reading amplified by the triggering of memory of tactile and olfactory sensation. Christina Fytili’s work has been exhibited in London, Italy, Greece and Belgium.
Carolina Piteira started a Painting Degree in Portugal, at Universidade Superior de Belas Artes de Lisboa in 2008, as part of her degree she joined the Erasmus Exchange Programme at University of East London where she transferred and finished her course with a First Class Honours Degree in Fine Arts along with the Limehouse Arts Foundation Studio Award in 2012.
In 2014 she was nominated by the Ministry of Economy of Portugal an Ambassador of "Portugal Sou Eu", to represent and support the Portuguese market as an emerging artist abroad.
ince she finished her studies, Piteira has won several prizes including the DegreeArt Signature Art Award and has exhibited in London, Paris, Rome, Athens and Lisbon with various group and solo shows.
n 2015 she was invited to be part of "Imago Mundi" Collection, works commissioned and collected by Luciano Benetton.
Her last solo show titled "The Encounter" with large-scale works raised funds to start the "Portugal Genial" Foundation dedicated to contributing to the development of artists of genuine distinction in their particular fields.
Carolina Piteira currently lives between London and Lisbon.
For the past 20 years, Mark Bern has been investigating the methodology of digital image processing. In his early days as a teenager, Bern explored the possibilities of image manipulation on his first computer – a Commodore 64.
Mark Bern's artworks uses several digital processes to create abstract forms resembling pixelated photos and the late cubism. The artist himself refers to his art as pixel art.
Mark Bern has been creative without showing his artworks to the public over 20 years. In 2013 his first public art collection "Marbella" was released and in 2014 his work evolved into 3D printed pixel art sculptures.
Mark Bern, born in 1979, lives in Zurich and Berlin. Before focusing on art he was an internet entrepreneur who founded and exited several web companies.
Rebecca Mason is a UK based artist using light to convey the darkness within human life, existence and emotion. Her work has been described as an extraordinary mix of truth and beauty through which she is able to engage her audience with brutal observations about life, love, money and culture with her honest, and often humorous, interpretation of the modern world.
Neon, with its seedy connotations and consumerist lure, is the brush she uses to create a gritty and simultaneously delicate world. Drawing inspiration from the exciting, chaotic playground of London, her life experiences, mistakes and feelings and particularly from the events of the wider world and politics, her work focuses on day to day human existence. It encompasses themes of inequality, fear, misinformation, disinformation, imperfection, prejudice, blame, judgment, assumptions, truth, acceptance, power, control, chaos and wilful oblivion.
Rebecca, whilst always creative, did not follow a traditional art school background. Coming from a working class Midlands upbringing, she went on to gain a 2:1 BA and MA degree in Economics from The University of Cambridge. This was followed by nearly 15 years of working in regulatory roles in large City institutions in London, Paris and New York. She now works full time as an artist and divides her time between East London and the Creative Quarter of Folkestone, following a recent relocation down to the coast. Rebecca has also recently established Sentient, a new physical and online gallery and design space, which she manages and curates.
Rebecca has exhibited at various UK venues and has collectors both in the UK and overseas.
Fleur Helluin studied under the direction of Gilian Gelzer and Joel Hubaut in Caen, France, and Norbert Bisky in Salzburg, Austria. She was also part of the academic program Art & Technology of the Image in University Paris 8.
Since 2004, her work explores the impact of the screen-based culture on contemporary figure. Her representational works incorporate the rich features linked to the use of the screen (light, posture, online vocabulary) to traditional oil painting. Through the representation of the contemporary figure, she sheds a new light on the paradoxal mechanisms of the perception of ourselves and the world, engaging strongly with the present.
The archaeological methodology and sites are another engine for her work in this direction.
Her practice is focused on painting, and incorporates performance, installation and sound experiments. Her works have been shown with Bill Viola, Norbert Bisky, Damien Cadio, or Cécile Wesolowski.
Since 2006, she lives between Berlin, Germany and Normandy, France.
In 2005 she founded the alternative dance-punk band Plateau Repas with Marianne Jacquet and Valentin Plessy. Still active in 2017, Plateau Repas is regularly programed in european alternative clubs.
"Belief in contemporary China is a blur, luxury and lie....
32 Square Meters" chooses the living room of the two-bedroom apartment, with its size and area adjusted to 32 square meters according to the area of the wall and the number of people I have planned. Each model in the work has corresponding archetype in real life. Among them are my middle school classmates, friends and students. They are refugees of a new era. It seems that they can only live and realize their dreams by going to a big city far away from their home. Among them are poets Zhou Sese, Qin Xiaoyu, Jiang Hao, Hu Jiujiu, Ye Kuangzheng, writer Dan Yu, critic Zhu Qi, my high school classmates who are living in Beijing as I am, lawyer Sun Zaifeng, scientist Kou jianyong, civil servants Liu Defeng and Guo Kui, as well as entrepreneurs Xin Weili, Ma Jianguang and Zhang Kai.
These friends and classmates trust me, so they went back and forth over one hundred kilometers from the city to my studio tirelessly. Although my friends are very successful in their respective industries, they have no faith. I believe it is possible that contemporary Chinese may not have anything to make them believe in, so I transform their roles into family church believers in this work.
The technology used in the production process of "32 Square Meters" is more oriented towards production. Arms, hands and heads adopt the approach of assembling multi-reproduction of carvings. The details of each person's head and hands are re-carved by myself. Eyebrows and beard are drawn by myself with the reference to sketching method in traditional Chinese painting. Eye balls are completed in accordance with toy doll production method, namely, they are first drawn in same proportion to the real eye balls and then assembled into the orbits. Bodies adopt the mannequin’s block making method. Face complexion are painted pale and finally everyone’s lips are put on s flashy make-up regardless of their gender. They are dressed in their own clothes to increase their participation in the work. Hair and furnishings completely use the finished products. Facades borrow the montage method and bring multiple scenes together.
In "32 Square Meters", 60 centimeters visit channel has been reserved for the visitors’ convenience. The work emphasizes the contrast between the fantasy presented in the work and the reality in real life. A crowded environment is created on purpose, but irregular vacant seats are reserved for visitors so that they could be part of it, either sitting or standing, while live recorded hymns are being played as background music. No one has any faith in the work except the person who plays the role of the preacher. The characters are like part of the community and do not know what I want them ended. For us, faith is a question that is barely considered. When we want to think about it, we already do not know how and what we should believe in.
Reality in China is highly magic, which is far beyond human imagination could range, and far more magic than the greatest Hollywood script. Individuals are unable to have a complete judgement of the development of real environment, nor are they able to maintain their own integrity. Even though they escape to villages far away from cities, they cannot find their utopia as Tao Yuanming did (Tao is an ancient poet in China, living a cloistered life after he quit his official position). Self-deceiving can only lead to split personality in real life. Each of us is living in a split personality in our life. On the one hand, we hunger for fairness and justice. On the other hand, directly or indirectly, we are accomplices to sin and evil. Each of us has no choice and nowhere to escape. This reminds me of my best college classmate who committed suicide after his graduation……People of conscience could not endure the torture of the brutal law and the game rules in real life……
Individuals or communities of free combination are more meaningful than illusionary country and mandatory group. A fabricated group can only increase outsider individuals’ disgust at it.
What perspectives should artists have with the development of social change today? What willingness should artists have to face the collision between their illusory spirit and reality?
Spirit and dignity of individual life requires an independent vision to explore the values of freedom and sunlight. By contrast, art is so insignificant.
"32 Square Meters" is just one of many fantasies of reality.
"32 Square Meters" is just a borrowing of the environment. It is open and unknown." - Zhong Wang.
Mathilde Bonbon and Henry Anno have been sharing the large studio in Wedding since the summer of 2017. Although very different in their respective approaches to art making, here – somehow – it all comes together.
A windowed wall and an opening in the high ceiling floods the room with light, even under Berlin’s grey sky, making this the perfect place to both create and exhibit art. But more than that, Studio 3926 provides the frame for a lifestyle with art at its centre, and the set of new and surprising relations that fall into this orbit. Diagonally across one corner of the space is a big dining table on a beautiful rug, and an orange corduroy sofa. Along the wall, a fully equipped kitchen has sprung, little by little, from various found components. Here, the couple hosts intimate dinners for friends, strangers and art lovers, interrupted by trips to the back room, where countless canvasses await discovery in the impressive storage space.
The studio is routinely cleaned up, the unfinished works put away, and exhibitions mounted. In September 2018, the complex, which houses several other artists’ ateliers, hosted its first Open Studios event with great success. On these occasions, Bonbon and Anno’s works appear side-by-side. For instance curated around colour, as in the exhibition Destination Red in May 2018, or in November 2017’s Between the Lines, where Anno’s dense black monochromes became the perfect match for Bonbon’s haunting totem sculptures.
At the end of 2018, the wall was lined with three antique monogrammed bedsheets stretched onto massive frames. These will be the couple’s first collaborative works. Judging from the immense versatility of their practices, what will come of this effort, only time can tell.