|Medium||Crayon and pen on construction paper|
|Dimensions||20 x 15 cm|
About the work
The medium of this work is crayon and pen on construction paper (children’s art materials). This drawing comes out of sculpture sketches turned into narrative scenes of dysfunctional families joined together (like Mahalo shown at Drawing Room in 2018). The ice rink is a frozen lake, and the idea is of a missing or lost woman, such as Ophelia, being trapped under the lake. The black hole contains a portrait of the missing woman. The Christmas candy theme adds cheer.
About the artist:
Born 1988 Toronto, Athena Papadopoulos lives and works in Hull. Graduated from BFA Contemporary Art Theory and Visual Art at University of British Columbia (2011); and MFA, Fine Art Practice at Goldsmiths, University of London (2013).
Papadopoulos’ practice focuses on challenging traditional representations of the body, gender and sexuality by creating abstract forms which cross the real and imaginary world. Her work involves a variety of media, especially found objects which are then assembled together.
Selected solo exhibitions include Cain and Abel Can’t and Able, MOSTYN Museum, Llandudno (2020); Athena Papadopoulos, Emalin, London (2020); The Apple Nun, Liebaert Projects, Kortrijk (2019); Holy Toledo, Takotsubo!, curated by CURA, Kunsthalle Lissabon, Lisbon (2019); A Tittle-Tattle-Tell-A-Tale Heart, Humber Street Gallery, Hull (2019); The Smurfette, Emalin, London (2017); Belladonna‘s Muse, curated by Samuel Leuenberger, CURA Basement Roma, Rome (2017); Wolf Whistles, Shoot the Lobster, New York (2016); Zabludowicz Invites: Athena Papadopoulos, Zabludowicz Collection, London (2015); Honeymoon in Pickle Paradise, The Landmark Hotel, London (2014); and OUT COLD, OTHER Projects, Berlin (2014). Selected group exhibitions include The Condition of Being Addressable, ICA, Los Angeles (2021); Future City Shining the Eternal Now, Museum of Contemporary Art, Toronto (2020); World Receivers, Zabludowicz Collection, London (2019); The Marvellous Cacophony, curated by Gunnar B. and Danielle Kvaran, 57th October Salon, Belgrade (2018); Streams of Warm Impermanence, David Roberts Art Foundation, London (2016); Wild Style, Peres Projects, Berlin (2016); Bloody Life, Herald St., London (2016); From Transhuman to South Perspectives, ROWING, London (2016); Dear Luxembourg, Nosbaum Reding, Luxembourg (2015); Bloomberg New Contemporaries, ICA, London (2014-2015); and Bloomberg New Contemporaries, World Museum, Liverpool (2014).
Awards include being shortlisted for the Max Mara Art Prize, Whitechapel, London x Collezione Marmotti (2018); and Peter Lloyd Lewis Studio Award, Chisenhale Art Place (2015).