FOTINI HAMIDIELI

 
http://fhamidieli.weebly.com/
https://www.saatchiart.com/fhamidieli


 

 

 

Urodziła się w Grecji. Studiowała sztukę w Stanach Zjednoczonych w Rhode Island School of Design. Od 1978 roku aktywnie wystawia swoje prace. Uczestniczyła w ponad 120 pokazach grupowych w Grecji, Niemczech, Włoszech, Hiszpanii i kilku innych krajach. Miała siedemnaście wystaw indywidualnych. Po raz pierwszy w Grecji zaprezentowała się w Galerii Diagonios w Tesalonikach, prowadzonej przez słynnego greckiego poetę Dinosa Christianopoulosa. Jej dzieła sztuki zostały zaprezentowane w kilku publikacjach artystycznych i pojawiły się na okładce książek poetyckich oraz krótkich opowiadań w Stanach Zjednoczonych.

Jako członek zespołu artystycznego TeeToTum zorganizowała sześć wystaw eksponujących dzieła międzynarodowych artystów. Najnowszy projekt pt. "Wspólna ziemia" został pokazany w bizantyjskim muzeum miasta Veria. Regularnie współpracuje z World Art Delft Center w Holandii i Prints for Peace Institution w Meksyku.

W ostatnich latach uczestniczyła w międzynarodowych wystawach malarstwa akwarelowego na całym świecie (Włochy, Węgry, Portugalia, Tajlandia, Kosowo, Indie itd.)

Zajmuje się nauczaniem plastyki i współpracuje z Centralną Biblioteką Publiczną miasta Veria, organizując różne wydarzenia, wykłady i programy plastyczne skierowane do dzieci. Wykonała plakaty graficzne, broszury i czasopisma oraz pisała artykuły na temat sztuki.

1973-1975 Studies in Eugene Tonoff’s studio, Providence R.I.
1978-1979 Honors Program of R.I.SD. Rome, Italy
1979 BFA Rhode Island School of Design – U.S.


The female form is basic in my work because it serves in exploring various aspects of the female psyche. As artists often do, I too, tend to put down on paper or on canvas things which I am “fighting” with, trying to make sense of what is happening around and inside me, so I suppose the female forms appearing in my work sometimes represent me. How the female deals with life, her view of the world offers endless opportunities to explore and develop subject matter as well as the body itself which is a battle ground and a temple at the same time. The human figure and color have been my main interests throughout my work. Inspiration may come from anywhere and ideas brew internally and usually surface unexpectedly. The work of Cezanne, Matisse and that of the American Expressionists have influenced me from early on.

“Fotini Hamidieli has a very distinctive style that is endlessly expandable, not limiting. I think this is because her style flows from a very organic substance: her work is rooted in human experience, not art theory. The artistic expression is primary – art for art’s sake, on that level – but the personal connection is always present as well. For example, I would never term Fotini as a portraitist in the manner of a John Singer Sargent: she is not primarily interested in conveying the realistic details of a subject. Yet faces and human figures abound in her work. And they are often in juxtaposition: doubles, similar looking figures that suggest a family connection, larger figures dominating or looming over smaller figures, and so forth. This calls to mind both the self and relationship. The artist is over and over examining issues of who we are to ourselves and to others. As with Paula Rego, moods and feelings are evoked rather than simple, didactic statements offered. Fotini’s paintings are not solely about specific people or ideas, yet people and ideas inhabit them naturally.”
Andrew Nargolwala, Psycotherapist and Writer

“Colors, a lot of colors and transparencies, but sometime not transparencies and expressions. People, some animals, bodies – mostly women – are used by Fotini in a choreographic dance. It is the challenge of life – both an intimate and a community diary, made up of differences and of the millions stories that she follows in her personal life and in her mind.
Her paintings are never – god bless – the red row of reality, rather they are a way to tell the feelings she had or she pretended. This is the best way to enter the stories and the situations and comment moods, as well as characters, with the help of the greatest and evolved artistic standards: color and design.
Two more things I noticed in her artworks. First is that they are not always joy full – sometimes colors and signs are too deep to communicate positive stories but this is right what you expect from an artist: to comment on both the positive and negative and explore human complexity fearlessly.
A second aspect is that Fotini is such an interpreter of the female body that the still images she lays on the paper actually feel as if they are in motion. It is not the application of the technique of perspective, but a way to organize the space, often using different layers, that makes the flat surface of the paper became three-dimensional – from the single image of the paint you hear voices, sounds, and a whole world comes alive – a whole sequence of generations.”
Anna Massinissa, Curator of Fabriano Acquarello

© sZAFa 2017
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