Daphne Angelidou

Angelidou Daphne
© Studio Vaharidis

Born in Athens in 1962, she studied Painting at the Athens School of Fine Arts (1980-1986) under Yannis Moralis and Dimitris Mytaras and Mosaic under Yannis Kolefas. Since 1987 she has been member of the teaching staff of the Athens School of Fine Arts, in the Department of Mosaic. In 1999 she was appointed Lecturer in Mosaic. In 2005 she was appointed Assistant Professor of A.S.F.A., in the Department of Mosaic and in 2013 she was appointed Associate Professor. Her works can be found in public and private collections, museums and art galleries in Greece, England, France, Italy, Spain, Belgium and Cyprus. She lives and works in Athens.

Works

Solo Exhibitions

2018

People’s Land Aneroussa Beach Hotel Andros

2017

Summer Sky Marina Keas Gallery Kea

2013

Today’s Mosaics National Archaeological Museum – Café Athens (curated by Andreas Ioannidis)

2009

Passers-By Zalokosta 7 Gallery (Gallery 7) Athens

2005

Passing By Zalokosta 7 Gallery (Gallery 7) Athens

2002

Mosaics and Pictures Art Space 24 Athens

2000

Area Surveys Zalokosta 7 Gallery (Gallery 7) Athens

1996

Dream Cities and Windows Terracotta Art Gallery (TinT Gallery) Thessaloniki

1996

Dream Cities Zalokosta 7 Gallery (Gallery 7) Athens

1994

Her Cold Silver Art Space 24 Athens

1992

Ora Art and Cultural Centre Athens

1988

Agathi Art Gallery Athens

1986

Agathi Art Gallery Athens

Press

Journeys

If we were to judge by the human figure, dominant in the current work of Daphne Angelidou, we could say that the artist is transitioning from a ‘relative’ abstraction, which was dominant in her previous work, to a ‘relative’ naturalism. Subsequently, man now ceases to be an indication of man and becomes more of a literal presence. From an abstract, transparent symbol he is converted into a naturalistic solid. He is, therefore, not limited to a visual stimulus, but takes on a tactile dimension as well. Man gains flesh and bone and is not merely an indication of human presence that, in its depth, conceals absence.

At the same time the umbrella, always dominant in the work of Angelidou, no longer covers the whole of the face as was the case so far, and this is plain to see in the small mosaics of the current exhibition. It now ceases to replace the face, like a mask, and plays more of a protective role, leaving space for the presence of another. Here, we often see people embracing underneath the same umbrella. I would even go as far as saying that its role is not simply protective, but helps to reveal the face that it covered until now, which is also supported by the fact that we now come across it lying discarded on the ground.

Man, therefore, can look around him and find his bearings: various human figures, in several combinations, move in all directions. That fact is also the difference between this and the artist’s previous work, the obvious presence of the other. And not as an imaginary figure, either – abstract and stylised – but more real: fleshed out and three-dimensional.

Like always in the work of Angelidou, there is an underlying sense of loneliness, especially in the isolated figures, as well as a sense of anticipation. But with a fundamental difference. Up until now, the human figure (see the small mosaics with a white background), by appearing more abstract, stylised, and with the umbrella covering its face, presents man in a state of waiting for himself. Now the human figure, three-dimensional, made of flesh and with its face uncovered, evokes the sense of waiting for the other, to the extent that the self has been fulfilled.

Angelidou, with her work, is always implying the multiform nature of human journeys, external and internal, where, however, sometimes blatantly and sometimes latently, there lurks the necessity of meeting with the other, who now makes his presence known.

For yet another time, the artist reflects upon the human condition in our days.

 

Andreas Ioannidis
Art Historian
Associate Professor at the Athens School of Fine Arts