Born in Athens, Greece Tina Karageorgi has been making art since she was a child but, 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 and are relevant on a global scale. Rather than being post-modern pastiches that is-- that may have combined different historical elements in a single work-- her visual essays harmonize into holistic works replete both in their unique vocabulary and syntax.

Karageorgi’s installations may at times be composed of paper, glass or Plexiglas but they always engage the viewer in both concept and beauty. They are installations rather than paintings not only because they relate to the space in their site-specificity but also because they erase traditional boundaries between painting and sculpture. Karageorgi’s experience in transforming the three dimensional object in relation to its surrounding components space, sound, text and image, arises from her affinity to art-film where she has proven to be a talented art director. By accomplishing this metamorphosis, Karageorgi offers us works that are vibrant with life; works with which her viewer can interact, because they pleasingly interrupt his space, as does her exquisite Section of Memory-Buried Treasures, 2006 (340x323cm, mixed media). This multi-paneled piece although hung from a pole as would a kimono in the Japanese tradition, drapes onto the gallery floor towards the center of the room. In its deep red smatterings it suggests blood, while in its shape it can be read as a Heian Period kimono. But, Karageorgi’s works must not be taken as narrative because they neither have a linear storyline nor a simple program. Rather they’re layered as stories, as images, as sensual velvet gestural touches against hard edged linear black buildings.

Karageorgi’s Book I, 2006 (52x41x8cm, metal, glass, ink, and oil paint,) may be the best indicator of her talent as site specific artist. How ironic is the idea of a transparent book? It invites the viewer to read it while thwarting his attempts at discerning any of its content. In the Duchampian manner, she challenges the concept of painting by eradicating traditional expectations based on typical cultural constructs to arrive at a sense of nebulous transparency that constantly changes like film in movement.

FOR FURTHER INFORMATION ON THE ARTIST PLEASE CALL OR WRITE:

Dr. Thalia Vrachopoulos
Exhibitions Director
tvrachopoulos@gmail.com 212-691-7978

OR

Michael Yuge
yuge@tenri.org 212-645-2800