About the Artist
Eleni Phyla (b. 1988) graduated from Athens School of Fine Arts (2015) also studied at the School of Fine and Applied Arts of Thessaloniki (2007-9), and at the École National Supèrieure des Beaux Arts in Paris with Erasmus grand (2011-12).
She presented the solo TρOPICAL, at Circuits and Currents (2016), and Air Sale: Inside/Outside, at Stoa 44 (2015), both in Athens. Her work was also shown at exhibitions including Painting Notes, Artseen, Nicosia, Cyprus (2018), Imago Mundi, Trieste, Italy (2018), The Presence of Absence, or the Catastrophe Theory at NIMAC, Nicosia, Cyprus (2018); Displacement as a state of mind, Koraï, Nicosia (2017); Antikristo, Heraklion Crete Cultural Centre (2017); Ola kala, Centre d’Art Contemporain de St-Restitut, Drôme Provençale, France (2016), Sphinx 2015, The hidden Thebes Festival, Thebes, Greece (2015); Cloud, 3 137, Athens, Greece (2015); Fireworks Out Of Season – Riviera, Riviera, Athens, Greece (2015), Moment Grec, Folklore Museum, Aegina, Greece (2014); various studio shows at Galerie Gauche et Droite Ensba, Paris (2012); and Intimate Space, permanently installed at Olympic Village, Innsbruck, Austria (2012).
*Phyla’s work at the exhibition Artists are the New Athletes functioned both as a whole unit comprised of ten canvases, that could also stand on their own as each one was a unique Cloud Study. What one encounter at the gallery wall was simultaneously depicted at her instagram account as a mirrored phenomenon, stressing the correlation between the production of art and the diffusion of it in the contemporary word.
*Her work Pteridium aquilinum is part of a series of artworks that were conceived after her relocation to her home country, Cyprus. She chose to live and work at the village of her grandfather which is located in the mountains. Having an every day interaction with nature, mountains and plants influenced her inspiration. “My existential worries arouse the anxiety of what if, those plants species around me extinct in due time or transform their shape due to the desertion phase that the island is undergoing. Thus I came up with the idea that I should preserve at least their visual representation on canvas, thinking that years ahead this could act as a clue to agronomists investigating the change. This is why the title of each artwork carries the scientific name of each plant I used to produce the artwork.” In each artwork the artist uses only three colours of spray cans, a green shade to match the leaf colour, a gray tone which is the transitional shade and a yellow tone which represents the dry phase. All other colours produced on the canvas are combinations of the above three. The three colours are depicted as three gradient tone lines at the bottom of the canvas, finishing always with the starting colour, forming in that sense a colour cycle. ‘I like the idea of gradient because I feel it as a poetic representation of a beginning and an ending. The gradual change from one colour to the other seems smooth and calming but sentimentally the change from one phase to the other is always dramatic nonetheless. Additionally, using leaves for art production has another layer to it. My artistic name Phyla sounds like ‘φύλλα’| philla | in greek which means leaves but with a different spelling. In that sense the series it self, which I also want to extend and experiment with other mediums or gestures, is a word play with my name Phyla.”