SOFIA ANDREADI Fare 2006 [R/D] - x +

CN: AndS2006fare

MT: mixed media: photocopy, charcoal, ripolin, tight and thread on canvas (150x120)

TX: signed with brush at lower right in Greek <SANDREADI .>

CT: Astrolavos Art Galleries, Athens & Piraeus - 2007

CM: The Fare of Sofia Andreadi originates in a series of works that refer to a c y cle of feelings relating to the experience of loss. The motive is likely to have been the recent death of the artist's father from cancer. The experience of forced decay for a beloved person caused the artist's aversion of flesh. Through matter Andreadi seeks the fate of the soul. Making it her aim to discover ways in which to present the soul's eternity, she uses the art of textiles as an incomparable means of expression. The weaving techniques - seweing, stretching, cutting, tearing - through which figures are suggested in her works refers to the perishableness of the flesh. Various qualities of fabrics for tights yield different plastic values, such as levels of light, hue and depth. In the case of the Fare, characteristic is the use of patterned tights on a figure’s arm in order to convey the feeling of volume. Moreover, a curtain of strings at the work's background on the left creates the feel of atmospheric perspective.

At the work's underlayer there is a picture of a couple of figures, which has resulted from magnifying on a copier a microscopic photograph from the stage set in a theatrical program. This picture was painted over with rippolin and coal. The external surface of the figures took shape by weaving together various tights. Herewith appears the boatman of Lake Acherousia, who guides a dead hero to the Underworld. Andreadi claims that the subject came about on its own, and that the reference to mythology was not intentional. The portraits of the boatman and the hero are archetypal in their want of clarity, rid of particular features. It may be noticed that especially the dead hero's head tends to resemble a skull.

Andreadi believes that "when the hero dies he finds himself in a misty path, wherein he looses the feeling and memory of reality". In the case of the Fare, the relationship between guide and guided is essentially a cold one. The boatman rows independently like the driver of a bus, while the dead hero appears surrendered in his present condition. Andreadi succeeds in creating the somber feeling of every figure's isolated dialog with himself.

[Megakles 09/2007]