INTERVIEW: Maria Loizidou

Maria Loizidou, one of the most important artists of her generation, with a significant work, which we closely follow for twenty years, follows a visual path that develops consistently and constantly… by repositioning and redefining her limitations…by setting questions and concerns, as we have seen in her last solo exhibition at Kalfayan Gallery in Athens, entitled “’Cropping Up’’. Those questions and concerns exceed us, causing us to come back two-three times in the exhibition, until we obtain the interview below. Truly is one of the most interesting solo exhibitions at any Gallery this period. The exhibition has Museum dimensions, but without exceeding the measure of the space, nor absorbed by the space, they simply coexist and commune, in a dialogue, although not easy open to the open mined viewer…

By Efi Michalarou
Photo: Christos Sarris & Socratis Stratis

Mrs. Loizidou, the human figure has always a principal role in your work. In your new work entitled “Cropping Up’’, we see her dismemberment at many different levels in space. Elsewhere is evident elsewhere implied. What needs it serves?
This relevance is attributed to the importance of the individual so to speak up for the totality. It can be termed physical and perhaps α function of life. In proportion to the current destructured environment, which is pushing for a new revision of things, to find something new. Each piece contains the intensity of dismemberment and seeking its position, is characterized by a sharp tenderness.
Sculpture-Photography-Installation: The viewer feels that the artist is anguish about all those happening in our society, about how the social structures swirling…
A proposal has power only when the basic concept underlying is inspired by questions of a collective framework. Absence and loss record life, connecting us with the world and are recognized as a continuation of the creatures themselves. Any attempt to identify a position, a query or a form is not a foregone conclusion. The truth lies beyond any intention. Each proposal defines a temporary stage in our lives, at best is part of the wider affairs of life and art. As such, it could provide a positive impetus to the theory of understanding.
The pluralism and the complexity of expressive media, functions for you, as a challenge or a need?
It is the only reason to say the same thing many times. Is the exhausting gesture that investigates the intentions of the form. It is composed of individual and disparate elements with transcendent courage of concentration and devotion. I would call it “an agonizing gesture, ”, in the continuous flow of the proposal, towards the person who is looking for. Smudge and mesh, characterize a simple, almost simplistic expression, the importance of the expression is exhausted in repetition.
The basic concept of the exhibition is to combine two stories: Kalfayan’s family (3rd generation of traders) and your own course, how did this came?
The intention alone comments the importance of collegiality. The point of view that introduces the visitor to the gallery space, is that people are no strangers to each other and beyond any historical correlation are between them relatives as to what they want to say. Every relationship is essential since it captures life. The perpetual motion of things releases the accidental of each meeting and committed to something new.
Although your work is anthropocentric, since the human figure is everywhere evident, even in her absence, there is also a deep political part. What does it mean for you as an artist, living and working in the divided Cyprus, but and all these outbreaks of war and the political instability in the Middle East?
Every new proposal accumulates concerns and desires that arise through observation and critical thinking towards the world and the facts. Develops under conditions of crisis and emergency. In this way, the problem of exhibition changes from issue of method to issue of substance. My intention as an artist is recognized as a continuation of the cosmos itself.
The great success of your exhibition is that it creates a number of concerns not only artistic but also mainly social. Looks like the psychograph of today’s society and therefore scares. On the other hand, creates the need for the viewer to come back and puzzle over. It is not a convenient exhibition although clearly legible, since there is great freedom of multiple readings and decodings. This was your primary objective?
Each artistic proposal does not specify an inferior temporary stage of knowledge, but rather it could provide a positive impetus to the theory of knowledge. A proposal has validity only when queries.
”Cropping Up”, for me that Ι know and watch your work for twenty years, looks like homage. As if you have, the inner need to arrange your subjects employed in the past, while opening a new dialogue with the future. Is it a marginal moment for you?
It is inspired by the same compositioning course of a work, of the ideas of the cosmos itself. What makes possible the interest of the exhibition is a genuine relationship with the one who seeks. The function with life connects it, with understanding as a survival tool. The continuation of these intentions is recognized as a continuation of the creatures themselves. Consequently is located in a temporary intermediate stage.

Info: Kalfayan Galleries, 11 Haritos Street, Kolonaki, Athens, Duration: 7/10-15/11/14, Days & Hours: Wed:10:00-15:00, Tue-Fri :10:00-20:00 Sat:11:00-15:00, www.kalfayangalleries.com