Κύπριοι Χαράκτες - Cypriot Printmakers

21/11/2025

https://www.philenews.com/politismos/kipros-politismos/article/1646973/

Αναληθείς χαρακτηρίζουν οι Κύπριοι Χαράκτες τους ισχυρισμούς του Δήμου Λευκωσίας σχετικά με τη στέγαση του εργαστηρίου τους στην Αγλαντζιά. Σε τοποθέτησή

12/11/2025

"Ένα από τα ελάχιστα ενεργά εργαστήρια χαρακτικής στην Κύπρο, το εργαστήριο του Σωματείου Κύπριοι Χαράκτες, βρίσκεται σήμερα αντιμέτωπο με το φάσμα της έξωσης και της αναστολής της λειτουργίας του, ύστερα από απόφαση του Δήμου Λευκωσίας να τερματίσει τη σύμβαση παραχώρησης του χώρου που στεγάζεται, στην οδό Μάρκου Δράκου 24 στην Αγλαντζιά."

Ευχαριστούμε θερμά τον Γιώργο Σαββινίδη για το άρθρο που δημοσιεύτηκε σήμερα 12 Νοεμβρίου 2025 στον Φιλελεύθερο.

➡️Διαβάστε ολόκληρο το άρθρο: [link in bio]
https://www.philenews.com/politismos/kipros-politismos/article/1643652/ipo-exosi-i-kiprii-charaktes-choris-revma-ke-nero-to-ergastirio-tous-stin-aglantzia/

.prountzos .kassianidou

07/10/2025

Christian W. Bertman, Untitled, Monoprints on paper, 1979

In the late 1970s, Christian W. Bertram began a series of walking actions in Athens, centered around Kifisias Avenue. During these walks, he collected trash and objects that "did not belong" on the street, transforming the act of collecting into a poetic gesture and a form of informal resistance. Silence—not as passivity, but as a conscious stance—runs
through his work, turning the process of gathering into an act of observation and personal reflection. The monotypes that emerged from these walks function as visual fragments of this quiet, everyday ritual. Through his work, Bertram illuminates the contradiction
between urban chaos and the sensitivity of the gesture, presenting the act of "collecting" as a form of care, reintegration, and silent protest against the abandonment of public space.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

07/10/2025

Evgenia Vasiloude, 1. Earthscapes (Volcanic), dimensions variable, silkscreen on fabric, 2025
2. Textscape, Multiple Techniques, 2022
3. Seascape, Video, 2024 (Collaborators: Yannos Economou, Elias Vasiloudes)

Evgenia Vasiloude’s work is part of the Earthscapes series, a visual exploration of the concept through materiality, memory, and care. Inspired by the feminist perspective of Donna Haraway, Vasiloude approaches the landscape as a networked field of relationships, kinship, and transformation. She constructs fragile yet emotionally charged topographies using old fabrics, which she carefully stitches together and layers in multiple strata. Her works function as spatial archives, referencing sites of volcanic activity where the notion of layering is expressed both morphologically and conceptually. The use of fabric conveys a feminist, anti-monumental perspective, while the seams act as traces of contact, emphasizing the gesture of time inscribed upon matter. The artist does not represent the landscape but reassembles it as a process: her geoscapes are transitional, open to decay, care, and continual transformation.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

06/10/2025

Stelios Ilchuk, 1. 100 DECIBELS OF LOVE: Artefact A - Ceremonial Steele, Plexiglass, Μetallic screws, 2023
2. 100 DECIBELS OF LOVE: Artefact B - Exuvia Vessel, Plexiglass, Μetallic screws, Εroded CD, 3D-printed compartments, 2023
3. 100 DECIBELS OF LOVE: Artefact C - Sonoric Sword, Plexiglass, Metallic screws, 2023

Stelos Ilchuk draws inspiration from the song of the cicada, translating it visually onto a musical staff to create a work that bridges nature, music, and printmaking. He begins with an exploration of the cicada’s life cycle and the mythologies surrounding it from antiquity to the present day. The cicada—symbol of birth, rebirth, love, and death—is presented as a deity within a fictional, lost cultural reality. Through the discovery of three ritual objects—remnants of a forgotten society—the artist pays tribute to the insect’s secret and often invisible life. These objects, resembling sacred relics, transform the cicada into a mythical figure, a being that links the past with the present and conveys timeless messages about nature and humanity. Iltsiouk’s work offers a poetic and philosophical perspective on the notion of existence, inviting the viewer to reflect on the relationship between nature, sound, and human creation.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

30/09/2025

Eleni Panayidou, from the series Memories, linoleum print, 2025

By composing her works from thousands of printed papers—each folded in a way that
mimics a childhood game where each side of a quadrilateral shape offers a different path
forward—Eleni Panagidou creates “tapestries” full of movement, capable of expanding
infinitely. The repetitive process of construction, along with the manual handling, becomes a kind of meditative technique. The patterns reflect the artist’s childhood memories: traditional woven embroidery and the stamping of bread with symbols linked to faith and prosperity. As we move along with the formal qualities of the work—its embossed texture creating volume and a surrounding spatial presence—a simultaneous game of fading memory unfolds, leaving behind only what it chooses to remember. The beauty of
memory is preserved behind an impenetrable veil. These works narrate the passage of
time while also attempting to capture it.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

29/09/2025

Panayiotis Andreou, from the series "With the depth of my gaze" embossed print and oil color on cardboard and beech wood, 2025

Panayiotis Andreou creates embossed, ‘sculptural’ monotypes in which he approaches the domestic environment through a process of reappropriating decorative motifs once found on carved furniture—motifs often reminiscent of plant forms or intricate natural interweavings. In his work, these patterns reemerge as carriers of memory and bodily experience. The artist focuses on tactile perception, exploring how the sense of touch involves movement, and how the body—particularly the mind—"feels" surfaces even in the absence of direct contact. Influenced by the thought of Johann Gottfried Herder, who considered touch the most "reflective" of the senses, Andreou transforms these embossed motifs into mental and sensory landscapes through the act of printing. His practice restores the value of the "humble" material and brings the sidelined familiar into dialogue with the contemporary experience of the body and space.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

27/09/2025

Milenko Stevanovic, 0:0, screen print, 2024

Milenko Stevanovic renders a landscape of Nicosia where a football field, the Pentadaktylos mountains, and a military watchtower quietly coexist. What drew him in most was how the latter structure appeared to emerge organically from the whiteness of the landscape, lending it a sense of quiet formation. It was this visual encounter—of forms, contrasts, and compositional balance—that initially captured his attention. Though rooted in observation, the piece soon evolved toward an exploration of colour transitions, guided more by intention than realism. Influenced by Japanese master painter Sanzo Wasa, Stevanovic deliberately stepped away from the conventions of painting from life, where the eye is inevitably shaped by its environment. With this silkscreen, he resisted the full of atmospheric changes or time-of-day lighting, opting instead for a fixed design palette. This approach allowed a subtle detachment from reality—an opportunity to construct a visual language grounded in choice rather than chance.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

27/09/2025

Telemachos Kanthos, Hard Years, Among the Thorny Fields of Tylliria, woodcut on paper, 1978

Telemachos Kanthos (1910–1993), a foundational figure in Cypriot painting and the island’s first printmaker, created the series Hard Times as an artistic record of the Cypriot tragedy following the Turkish invasion of 1974. This body of work powerfully captures the pain of the displaced and the families who lost loved ones, serving as a visual chronicle of collective memory and loss. Through simple forms and dark color palettes, Kanthos conveys a deep sense of absence and silent anguish, highlighting the resilience of the Cypriot people. Beyond its artistic merit, this work stands as a testimony and a form of
resistance against forgetting, keeping historical consciousness alive. The Hard Timesseries is considered a peak in Kanthos’s career, blending his personal sensitivity with the social and political realities of the time.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator

23/09/2025

Hourig Torossian, "Εlevations I, II, III", Silkscreen print with hand-painted stencil elements, 2025

Hourig Torossian develops a visual dialogue with the architectural identity of the building, focusing on the morphological features of its Art Deco door. She draws geometric shapes and decorative patterns, which she deconstructs and reassembles into new, dynamic compositions with a strong chromatic presence. Her personal archive plays a pivotal role in her work: photographs from the ancient theater of Salamis reappear as prints imbued with memory and lived experience. Her intervention does not imitate or replicate but creatively translates the historical elements of modernism through a personal and introspective visual language. Color functions not only as an aesthetic tool but also as a carrier of energy and emotional intensity. In this way, Torossian transforms the surface of the space into a projection field of a contemporary imaginary, where personal and collective pasts reconnect with the present, generating a multilayered aesthetic and narrative experience.

"On geological strata and the reconstruction of landscapes"

Curated by: Evagoras Vanezis – Art theorist, curator
Associate Contributor: Thalea Stefanidou – Art theorist, curator