TRANSLATIONS – TRANSPOSITIONS – METAPHORS IN THE WORK OF TINA KARAGEORGI by Alexander Nehamas<\/span>, 2011<\/p>\n \u201cTranslation\u201d- translatio<\/span> in Latin-literally means transposition<\/span>. Its root meaning is identical with the literal meaning of \u00a0\u201cmetaphor,\u201d which (used metaphorically), denotes the figure that is central not just to literature but to art in general.\u00a0 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<\/em>…<\/a><\/span><\/p>\n BLUEBIRD IN THE DEAD OF NIGHT by Robert C. Morgan, January 2008<\/span><\/p>\n 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\u2019s being holds a more indirect form of consciousness, less associated with the Ego than with subtle forces of nature. more<\/em>…<\/a><\/span><\/p>\n WHISPERING PINES<\/span><\/p>\n Whispering Breeze among the Pines<\/em>, Tenri Cultural Institute, New York, October 25-November 22, 2006<\/p>\n by Jonathan Goodman, March 2007<\/p>\n 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<\/em>…<\/a><\/span><\/p>\n Whispering Breezes Among the Pines: Tina Karageorgi<\/p>\n by\u00a0Dr. Thalia Vrachopoulos, October 2006<\/p>\n 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<\/em>…<\/a><\/p>\n THE GAZE \u201cWITHIN\u201d<\/p>\n by Giuliano Serafini, October 2006<\/p>\n In classical Chinese there are fifty ways in which one can \u2018write\u2019 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.<\/p>\n That hiatus of civilisation which is not only linguistic but historical, philosophical, conceptual, aesthetic, religious \u2013 moral even \u2013 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 \u2013 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<\/em>…<\/a><\/p>\n DIVING INTO \u03a4\u0397\u0395 TRANSLUCENCE \u039fF \u03a4\u0397\u0395 LANDSCAPE<\/p>\n The visual poetry \u03bff<\/em> Tina \u039aarageorgi<\/p>\n by Haris Kambouridis, January 2006<\/p>\n “…It is the purpose of our life to expediently accept our every wish in every fervent raking up of the existing things…”<\/p>\n Andreas Embirikos<\/p>\n 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<\/em>…<\/a><\/p>\n \u03a4\u0397\u0395 QUALITY OF FRAGMENTARY WRITING<\/span><\/p>\n by Anna Kafetsi, March 1993<\/p>\n 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<\/em>…<\/a><\/p>\n POETRY \u0391\u039dD RHYTHM WITHIN COLOUR<\/span><\/p>\n by Dr. Dora Iliopoulou- Rogan, January 1989<\/p>\n
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\nNew Works by Tina Karageorgi<\/span><\/p>\n