Mirsini Artakianou is a Greek-German artist who was born in Lesbos, Greece. She has a bachelor’s degree from the School of Fine Arts at the University of Ioannina Greece, and a master’s degree from Burg Giebichenstein Kunsthochschule
in Halle, Germany. She has participated in many group exhibitions in Greece, Germany and other European countries and she recently had her first solo show. She also has several publications and distinctions. Her work involves mainly large scale installations, ceramics and drawings. She likes combining fragile and light materials with heavy structures. The organic forms usually found in her work aim to highlight gender issues. She lives and works in Leipzig.
My aesthetic vision lies between airy minimalism and critical thinking on gender issues. Nature and the human body are my dearest sources of inspiration, while I have always been intrigued by the versatility of the motifs and the shapes they have to offer. I am mostly interested in approaching the female aspect of eroticism, through a discrete yet profound manner, in order to deconstruct gender-related stereotypes. I use organic forms as vessels of meaning and I am keen on choosing shapes that are adjustable and flux. The flow they create in space, often gives out a feeling of a state in limbo,
which can be both intimate and distant. One of my favorite materials to work with is thread, due to its simultaneous lightness and efficiency. I perceive it as a structural element for my large-scale lacy installations that oscillate between geometry and abstraction. The added metal is enhancing the visual juxtaposition between texture, density and intensity, while keeping in place the liquid-like forms. For me working with threads it is not just a means of creation, but also a type of spiritual meditation through patterns and repetitive rhythms. Despite the introvert procedure, the outcome can be rather extrovert and autonomous.
Photo: Marco Dirr
Photo: Cihan Cakmak
We asked ...
Do you think there are artworks that should better never be realized? Why?
No, I don't think so. So when I look back at older artworks, I find many of them no longer beautiful and would like to hide them in the deepest cupboard. But all these artistic works have improved me bit by bit and have brought me further to be able to make better works now.
What role do unrealized projects play in your artistic practice?
At first I get quite frustrated when an artistic project cannot be realized. It can happen that I sometimes spend months trying out alternative methods or working with different material and in the end nothing comes of it. But by trying out you always get a little bit further. Maybe it didn't work out for a certain project you had in mind, but it may work better in a future work.
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