Essays & Publications


by Alexander Nehamas, 2011

“Translation”- translatio in Latin-literally means transposition. Its root meaning is identical with the literal meaning of  “metaphor,” which (used metaphorically), denotes the figure that is central not just to literature but to art in general.  All three express a dislocation, a change of place, often in new, uncharted, and surprising directions. All three are central to the art of Tina Karageorgi, never more so than in her current work. more

New Works by Tina Karageorgi

by Robert C. Morgan, January 2008

Delicate materials are capable of producing strong results. To work in a way that is outside the parameters of arrogant power and mindless aggression suggests a manner that resides within the inner-self. This sounds very close to an Eastern sensibility in that the spirit of one’s being holds a more indirect form of consciousness, less associated with the Ego than with subtle forces of nature. more


Whispering Breeze among the Pines, Tenri Cultural Institute, New York, October 25-November 22, 2006

by Jonathan Goodman, March 2007

Tina Karageorgi is an artist based in Greece who makes installations and intricate paintings that often involve collaged materials. Her work in no way connotes an active sense of classically Greek materials or themes; instead, she is part of an international idiom that is more aware of formal and transcultural identifications than of the expression of culturally specific subject matter. more

Whispering Breezes Among the Pines: Tina Karageorgi

by Dr. Thalia Vrachopoulos, October 2006

Tina Karageorgi has been creating art since she was a child and has officially studied it since 1978. In this, her mature stage of development she offers us images that in their ability to interact historically and contextually epitomize the new conceptual art. Rather than being post-modern pastiches that is– that may have combined different historical elements in a single work– her visual essays harmonize resulting in works replete both in their unique vocabulary and syntax. more


by Giuliano Serafini, October 2006

In classical Chinese there are fifty ways in which one can ‘write’ the fall of a leaf, where the written sign and the image come together as if by elective affinity and create from the message and how it is represented a single event made up of gaze and thought.

That hiatus of civilisation which is not only linguistic but historical, philosophical, conceptual, aesthetic, religious – moral even – and which has always offset East with West, is situated between ideographic and alphabetical writing: whereas for a consciousness of the former symbolic expression is not even conceivable – given the coincidence in its writing system of the sign as factor together with the iconic – for the latter (ours) every form of communication, whether it be literary or artistic, must come to terms with a congenital split between signifiant and signifi?, a presumed expedient which is meant to rationalise our creative behaviour and establish somehow a semantic set of rules out of it. more


The visual poetry οf Tina Κarageorgi

by Haris Kambouridis, January 2006

“…It is the purpose of our life to expediently accept our every wish in every fervent raking up of the existing things…”

Andreas Embirikos

The gaze meets landscapes; trees and successive views emerging through one another; vivid, often merry colours, clear forms. Around them, the thin masses of colour, water- or air-like, seem like veils that trick the eye and appear to be moving to an inner pulse. more


by Anna Kafetsi, March 1993

How does a sort of painting which indulges in delicate, sensitive and inward artifices of chromatic material and line, whithout however any other concessions to the hedonistic past ofthis representational art, appeal to us? How are traditional techniques and materials, such as egg tempera, precious ]apanese paper, wood and the like, matched with supremely modernistic processes such as collage and the new materials? more


by Dr. Dora Iliopoulou- Rogan, January 1989

Defying any attempt for description, the works of the young artist Tina Karageorgi, call for a direct communication with us so as to convey the vibration-rhythm that characterises or even better, they embody. more


2011 Translations – Transpositions – Metaphors in the work of Tina Karageorgi by Alexander Nehamas

2007 TA NEA by Harris Kambourides

2007 Whispering Pines by Jonathan Goodman, at GREEKWORKS.COM

2007 Bluebird in the dead of night by Robert Morgan

2006 The Gaze ‘within’, by Giuliano Serafini

2006 Whispering Breezes among the pines, by Thalia Vrachopoulos, Exhibitions Director of Tenri Cultural Institute

2005 Diving into the transparency of the landscape, by Haris Kambouridis, art critic – semiologist, Member of The Academia Europaena

1993 The quality of fragmentary writing, by Anna Kafetsi, Director of the Athens Museum of Modern Art

1990 The Athens Hilton Magazine

1989 Kathimerini press, By D. Rogan–Heliopoulos

2006 The era of the images, by K. Zacharopoulou, Greek Television Channel 1

1993 Greek Television Channel 1, Presentation.