Evangelia Spiliopoulou

Crafted Division (Drawing No. 30)

Current bid: £
[x bids] View all bids
Enter £x or more
Bidding is now closed for this drawing.

All bids

Year 2019
Medium Graphite on paper
Dimensions 21 x 29.7 cm

About the work

Drawing no.30, from the Crafted Division series, reflects thoughts on the characteristic industrial origins of Manchester where I worked and lived for nearly a decade. The materials, carbon (graphite) and cotton (drawing surface), have been among the materials processed at industrial units since the beginnings of the industrial era (era of automation), while the motifs resemble the textile structures. This particular drawing series enabled me to handle natural materials, such as carbon and cotton, and observe their fine and particular relations to cultural concepts such as the repetition of manual labour and gendered labour.

About the artist:

Born 1981 Patra, Evangelia Spiliopoulou lives and works in Athens. Graduated from BA Painting at Athens School of Fine Arts (2007); MA Fine Art at the Metropolitan University of Manchester (2009); and PhD Candidate at Athens School of Fine Arts (ongoing).

Spiliopoulou’s work relates to the various forms of automatism. From mental to physical, from handcrafted to mechanical, from emotional and psychological, automatism and repetition shape visible and invisible repetitive motives identified with our existence. Of particular significance are terms like ‘re-production’, ‘mater’ (mitir- matera- mutter- mother) and ‘labor’. Those terms evoke at the same time genesis and the existential connection to the female subject, while in contemporary culture they intersect to the language of consumerism and globalization eliciting a paradox very central to the contemporary world.

Selected solo exhibitions include Orientation: Landscape, Touchstones, Rochdale (2017); On Physical Work, Bureau, Manchester (2014); and Of Time And, Bury Art Museum (2013). Selected group exhibitions include The Right to Silence, Undercurrent, New York (2021); Curved Arrows, Kunstraum Am Schauplatz, Vienna (2019); Oh, it is easy to be clever if one does not know all these questions, Castlefield Gallery, Manchester and DOX, Prague (2018); 30 Years of the Future, Castlefield Gallery, Manchester (2014); Afresh, State Museum of Contemporary Art, Athens (2013); and Industry & Idleness, Contemporary Art Society, London (2010).

Awards and residencies include Lokaal01 (Artist in Residence), Antwerp (2016); Drawing Room Biannual Bursary (Nomination), London (2015); Florence Trust Residencies (Selection), London (2015); Celeste Art Prize (Distinction), Rome (2013); Drawing Room Biannual Bursary (Nomination), London (2011); and Bloomberg New Contemporaries (Short-list), London (2010).

← Clare Smith

Red Tree

Giuseppe Stampone →

For Maria Crispal

Auction close and bidder extension

The auction closes at 9pm, Mon 5th July. However, if a bid is placed in the last two minutes, the auction end time will extend on that lot for an additional two minutes, or until all bidding has ceased. This is called Popcorn Bidding or Bidder Extension and gives all bidders an equal chance of winning.

Bid Increments

£50 increments for bids of £300 – £1,000

£100 increments for bids of £1,000 – £2,000

£250 increments for bids of £2,000 – £5,000

£500 increments for bids of £5,000 plus

Maximum bids

You are more likely to be the winning bidder if at the outset you place a maximum bid i.e. the maximum amount you are willing to pay for the work. Your maximum bid is not visible to other bidders. If another bidder exceeds your maximum bid you will receive an automatic notification. If you have placed a maximum bid the auction site will automatically place bids on your behalf, but only as much is necessary to make sure that you remain the highest bidder, until it reaches your maximum bid. These automatic bids are placed in increments, as shown above.

You must be logged in to add favourites