PORTFOLIO SUBMISSION IOANNA SAKKOULA
Medussa Dress Fabric, paints, plastic bottles, spray paints, polyretheane foam, cellophane, pins. 210x90x12cm approximately Inspired by the myth of Medussa and the exhibition “Aaaarghhh, Monsters in Fashion” at the Benaki Museum,I made this large scale “costume/sculpture” of the Medussa creature combining construction materials, such as polyretheane foam and spray paints, to create a dragged out and torn dress, that a creature with such a tragic story might have worn. I have approached the myth from a more contemporary point of view, keeping the essential part of it as an inspiration: how alone and feared she was, when in fact, the terror that she provoked in others, resulted in her absolute isolation and transformed her into a symbol, which is why I made the dress larger than lifesize. I deliberately obliterated the head, as this is the most commonly portrayed feature of Medussa, and everyone ignores her body. Once the head was cut off and given as an offering to Athena though, what happened to the rest of her? Here, I am portraying the remains of Medussa, after the battle with Thisseas and what her body might end up looking, washed out in some part of the sea.
Constrained Sea Life Plastic paints, spray paints, polyretheane foam, silicone glue, cellophane on cardboard 100x100x50cm approximately Continuing my project on sea life and a visit to the aquarium, I begun thinking about alternative ways of depicting sea life and jelly fish. This was actually my starting point for all three works based on jellyfish/ medussa. Living in Greece which has wonderful beaches and sea, I am accustomed to diving and observing nature at its best, but also at its worst at times, in regards to pollution. Looking at the different ways in which I could recreate sea life and the transparencies of a jellyfish, without resorting to expensive materials, I realised that man made media worked best. I am always interested in the ways in which one can portray objects three dimensionally, using alternative media that can be found either in hardware stores or even in my kitchen, which is literally what I have done here. I was interested in the notion of ways of seeing things, I have seen jellyfish both in their natural environment and in an aquarium, contained in glass boxes. This piece, is a combination of both, but the movement and the feel of the jellyfish is completely unatural and even static, as I believe so much talk about the natural environment and the way we often experience it, is in fact un-natural.
Space Within Space Plumbing pipes, brown tape 200x200x130cm approximately Space is an abstract concept that cannot be defined in absolute, tangible terms. The idea for this piece, came from an observational drawing of my garage and after completing a series of collages/mixed media pieces influenced by Gerhard Richter and Escher style labyrinths. I was intrigued to recreate a maze like structure, that resembles the pathways of one’s mind and the space that these occupy in one’s head. The scale is deliberately large, so that I could physically go through the pipes as I was making it, re-thinking the idea of personal space/physical space/immaterial space as I built each layer and complicated the structure even more. The formation resembles the chemical molecules of carbon as well, which is an ingredient of the charcoal I used for my drawing. Other influences, were Olafur Elliason’s work and Caro’s minimal sculptures.
Observational of Space Within Space Acrylics on paper 40x50cm
Thread construction A3 size A different approach to recreating the Space Within Space construction. For this project I started with observational studies of my garage space and developed ideas for a different construction/site-specific work, based on the images of the molecules and Olafur Elliasonâ€™s work.
Observational study of Space Within Space Charcoal and ecolines on paper 40x50cm approximately As I have already done some more traditional observational studies I decided to try a different approach.
Observational of Garage Floor Acrylics on paper 45x55cm
Observational study of Pipes Charcoal on paper A2 size
Suggestion for Installation Space Masking tape, markers on phtographic paper 41x50cm
Observational of my Garage Charcoal on paper 35x45cm
Atom Construction Bleached out inks and marker pens on paper 40x50cm
Workbook Page A3 size
Derelict Cityscape Cardboard, blue felizol, plastic paints, ashes 65x60x125cm approximately For many of pieces, abstract or not, the starting point is often a story, a fragment from a film, a general idea about a concept, which gradually changes as the concept becomes more tactile and the experiments with materials, inevitably lead to a different resolution than what I had planned. The starting point here was the journey of a young man-a fantastic story of my creation- who went through various stages before finding redemption in an imaginary seascape/map of his brain. One step of the journey is his walk through a derelict city, where the buildings/ sense of gravity is completely altered and redefined. I used felizol, as it can gradually burn and become destroyed, whilst at the same time, keeps part of it intact, thus providing a solid base for the buildings.
Drawings of skeletons, preliminary studies for Death and Re-Birth Pens on paper 40x50cm each
Studies of Birds Watercolour pencils, gouache on paper 50x70cm each
Workbook pages A3 size each
The Beginning Wax, inks on canvas 100x100cm
Workbook pages Preliminary studies and original influence for piece Pencil and inks on paper, A3 size each
“Happy Ending?” Plaster gauge, emulsion paints, fanric, carboard boxes on iron table 120x65x65cm Influenced by a recent exhibition I visited of Althamer’s work, I became inspired to continue my “Life and Death” series. The irony of what could be considered a high tiered wedding cake, gradually unfolding and looking as though it belongs to a scene from Great Expectations, is what I wanted to achieve here. I wanted to portray the icing as a symbolism for bones and as I could not use the retins that Althamer use, I opted for more versatile and easy to find materials instead.
Nature Attacks PVA glue, emulsion paints, cardboard, acrylics on chicken wire 240x120cm
Death- Life Wax, inks on canvas 30x60cm each My starting point was a scene from a film “Big Fish”, where the hero, is portrayed as a young boy, inquiring about his destiny, as there is a witch who posses a glass eye, through which one can view one’s destiny. Through mind maps and brainstorming, I was led to the concept of life and death and rebirth. The cycle of life is something that intrigues me, as I find that there are small, indescernible spaces or lack of them, that exist at the moment both of creation and death. I wanted to show both moments as abstract images, almost immaterial ones, but which had a momentum and energy.
Re-Birth Wax, inks, plaster on canvas 70x100cm
Influenced by Richter Acrylics and masking tape on paper 80x47cm
Creating Space? Mixed media on paper 180x95cm
Workbook page A3 size
Abstract Scene Inks, gouache, threads, collage on paper 210x104cm
Workbook pages A4 each Collage on paper Influenced by Nick Caveâ€™s costumes and Alitheia Spyri
Aerial Views of the Mind/Body Costumes Mixed media on paper 100x90cm each
Preliminary study for Body Costume/Aerial Views of the Mind Inks, pastels on paper A2 size
Preliminary studies for Medussa My photographs, inks and bleach on paper A4 size each page
Medussa Inks and bleach on paper 400x70cm
Workbook pages, preliminary study for Flowing Inks, gouache on paper A4 size each
Flowing Chalks, inks, gouache on paper 150x70cm Influenced by the work of Art Venti
Abstracted Sea Mixed media on paper PVA glue, emulsion,inks, thread) 160x47cm A different step of the journey my hero from the fantastic story goes through. Both pieces here, are about creating abstracted spaces, which maintain an atmosphere, without using realistic features.
workbook pages Pigments, PVA glue, inks on paper A4 each
SuperNova Explosions Pigments, PVA glue ,inks on acetate 80x100cm each
Pin Landscape Pins, candle wax, silicone glue on canvas 50x70x4cm Influenced by Mona Hatoum and Lucas Samaras, I made this abstract and contradicting landscape. Pins were used for the fact that they are prickly and are man made, as is silicone glue. Combined however with wax, they make an almost ethereal landscape, which resembles natural elements, even though the ones I used are anything but. An apparently welcoming place, which is lifeless.
Labyrinth Style Space Acrylics on paper 51X60cm
Workbook page A3 size Influences from Tara Donovan, Caro, Samaras and Elliason
Explosion in Space Collage on photographic paper, felt tip pens 40x50cm Preliminary sketches for Construction in Space Felt tip pen on tracing paper 40x29cm Influenced by the structure of the anthrax molecule