CM: Ellie Griva's Black Cat indirectly describes an imaginary seizure. In essence the viewer confronts the artist's inner world in the period of her post adolescent innocence. All of Griva's works take feelings as their springboard. For Griva the motive in art is always eros, which is at the same time desirable and dangerous. The artist's self portrait presides at the left side of the picture. She is dressed as a poppy, because she craves to bloom. Nonetheless, in this period of her life, she has not yet become conscious of her existence's feminine side. She appears like a young poppy, opening prematurely by force, before attaining the form of the flower. In such a condition the woman feels the man to be impotent, which explains why she perceives of him as a lollypop. As a matter of fact the lollypop is in the form of a daisy, so that she may pluck his petals in keeping with the game of love, in order to arrive at the circumstantial conclusion. The little house on the picture's other side is the Black Cat itself. There is where the seizure takes place - a refuge of many people. Griva believes that seizure becomes man when he is countryless. For the seizurer the Black Cat is but a place of short pause. Outside the Black Cat time takes pride in being a sea for endless journeys. The whirlwind in the form of a bird rising from the Black Cat's roof, shows the directions the man-without-country may head for. The travel begins every night - the time of the day privileging mysteries, when the margins of every man make space for another. Griva claims "I can experience love in the marginal time of the others". The plots that every countryless man is in need of take flesh in the Black Cat just before his departure. The colors are intense, but bleached. The background's yellow color is dangerously threatening and balances with the poppy's red, which attests to passion and submission. In strategic parts of the picture are inscribed the following texts: "whose eyes are you?" / "un-consoling, same as ever" / "you never came", all of which refer to the eternally desired, expected and unsatisfied. Nevertheless, such words are all therapeutic. They may not heal decisively, but they create a homely picture, with which man becomes familiar in the passing of time. Griva is well aware of painting personal troubles, without yielding solutions. She only shares a picture of her world with us.
[Megakles Rogakos 02/2008]
ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens