Maria Trillidou’s work is exploring themes of transition, spatiality and hybridity. Composite creatures, unknown habitats, terrains suspended in space-time; Instances woven together, caught up into their non-linear, improvised transmutation process.

Between scientific fact and metaphysics, ‘Current Terrains’ is a series of works which deal with the hypothetical concept of transition and impermanence of material forms, not necessarily as ephemeral substances, but as the transmutation of one element into another.
The elements of matter, the solids, liquids and gases consist of molecules and what keeps them apart, or we may say holds them together, is invisible space.
Within this invisible space, everything co-exists in a fluid continuum. Matter is not merely a static mass as it appears to be, but is continually being altered and by filling up the invisible field of space it occupies it.
The continuum is a temporary field, a hypothetical geographical terrain which by continual division and probable alterations, remains current through the flow of spatial time. Characterized by volatile, instability of form where transience leads to another transience, the paradox of a permanent impermanence remains an oscillating constant.

Current Terrains; the Prologue

An exhibition by Maria Trillidou

Text by Dr Hesperia Iliadou- Suppiej

Being is said in many ways.

Aristotle (1003a 33)

Maria Trillidou’ s work weaves worlds both terrestrial and celestial undefined at first site; it verges between the being and the becoming of an altogether mystical cosmology.

What one experiences in the exhibition Current Terrains is only a Prologue, a Prophase, the first stage of tracing upon paper a mystical tale of the transformative nature of the cosmos, that the artist feels the urge to share with us, as lines, forms and colors surge from the inner sanctum of self.  In this series of work, each piece springs out from the artist’s meticulous research not only of an artistic technique and medium but also from a profound interest in literary contemporary philosophical discourse.  The title Current Terrains, domes upon the works, that come together both thematically and technically to reveal to the visitor of the exhibition a primeval process of evolution and transformation; an ever- altering continuum of fluidity of being and becoming.

Here the artist in an enchanting manner, produces upon paper the conditions of creation that re- imagine ancestral forms into new beings and entities; where animals become territories of lands unknown and imagined plants are turned into starry skies within a symbolic cosmos.  Her use of watercolor in this certain technique of overflowing watery paths of color upon the paper, carves pictorial Currents, which literary lead the viewer into deciphering each work in a personal manner unlike no other; her lines become part of a story to be unraveled.  Foucault would have recognized an infinite and infinitely open space in each surface, where the location of a thing, in fact, is no longer anything more than a point in its movement, its rest, nothing but its movement slowed down infinitely.  In the artist’s work localization is replaced by extension and every stable point of reference melts and mutates into a moving expressive current.

The artist presents in her work an unsurpassed mastery in drawing, a unique ability to manipulate lines in an almost organic manner, transforming them into living spatial flows of organic terrains, laid bear across the surface of the paper, for us to inspect, to read and decipher.  In each of the different pieces exhibited here, pencil and watercolor intertwine upon paper in such a manner that each work seems not to be actually created but instead, one feels looking at them, that they are most likely born out of a turbulent dark vortex obeying to primeval unknown to us, ever- altering processes.

Her drawing technique is impeccable, something seen also in her previous work, but in these latest pieces, it becomes more abstractly organic in its expression. Her watercolor palette is subdued and confined to pure colors of earthy ground and nightly sky, devoid of any excess in the tonality of hues that are used.  Based on this, Trillidou’ s work, seem to inspire an out- of this world silence and an inner peace entwined with the cosmos that surrounds us.

Looking in between the drawn lines and the currents of flowing colors one can recognize the sources of inspiration that have guided the artist into this journey; creatures of this earth mingled with natural plants and charts of the skies of our universe.  Instead from afar, each surface is turned into mystical fluid lands upon terrains undefined yet, and at times, as celestial constellations upon deep dark watery plains.

Standing in front of Trillidou’ s work, one senses immersed in an image that seems to be pulsing cosmic energy in an effort to draw the viewer into discovering inner parts of its self hidden until now.  The white paper, this initially empty of meaning, Euclidean geometric surface, becomes in her work, a visual topos, a Current Terrain, proposing an all- together new ontology of space.  Lefebvre would name this, an absolute space, located nowhere; a place that has no place because it embodies all places, and has a strictly symbolic existence.

Dr Hesperia Iliadou- Suppiej,

professor in the History of Art &Architecture

Venice, April 2017