submitted by James Victor Prineas on 05.10.2017
The scenes have been shot, and the editing has begun. See a preview at www.IslandnamedDesire.net!
submitted by Kytherian Cinema Review on 25.11.2015
submitted by Kytherian Cinema Review on 23.11.2015
submitted by George Tzannes on 31.07.2015
ARTIFACT The works exhibited here are inspired by the material culture of the people who have lived on Kythera. An artifact is defined as an object made by a human being. It is an object made for use in context of human activity and therefore is an expression of the culture of the people who made and used it. I made these works at different times over more than forty years, so the exhibition is a retrospective focused on material things found or located on Kythera. The cement frescos are of Minoan pottery excavated from Paliopolis and they are what one usually thinks of as an artifact. The paintings of old tools are equally artifacts, without being ancient. Excavated from places where they had been lost, finding them reveals a clue to some past human activity. I have broadened my interpretation of an artifact to include architectural ruins because, while the scale is larger, to me, they convey the same sense of material remains from past use.
submitted by KCA Admin on 25.04.2015
The poster designed for the exhibition "Olive, the blessed tree" by Michalis Petropoulos.
submitted by Kytherian Art World on 01.05.2015
By HELEN GREGORY Newcastle Herald February 10th, 2015. Reproduced with permission of The Newcastle Herald ©Copyright 2015 Alexia is the daughter of Peter and Sheri Psaltis, who live in Newcastle, and granddaughter of the late George Psaltis and Alexandra Psaltis (nee, Feros), of Gilgandra, and later Earlwood. ALEXIA Psaltis’ hair-raising expeditions squeezing through fences to photograph abandoned industrial sites have paid off, culminating in an eye-catching piece selected to hang in the Art Gallery of NSW. The 2014 dux of Hunter School of the Performing Arts is the woman behind Subsumed, which has been selected for Artexpress, a showcase of the best works of art completed by NSW students as part of last year’s Higher School Certificate. Of the 219 works selected for exhibitions in galleries across the state, only 37 have been selected for inclusion in the exclusive Art Gallery of NSW exhibit. ‘‘When I heard, I was jumping around in excitement, it was the best feeling,’’ Ms Psaltis said. ‘‘Out of all of my HSC achievements, that’s the one that really stood out to me.’’ Ms Psaltis’ work explores the paradox of Newcastle’s heavy industry sitting alongside its pristine coast. It comprises six surrealistic portraits of female figures, representing Mother Nature, being consumed by industrial structures, objects and landscapes that convey destruction and invasion. Each portrait includes layers of hundreds of photos she captured from both active and abandoned industrial sites including Kooragang Island, Cockatoo Island and around Hexham and Maitland. ‘‘I visited quite a few deserted and unused machinery yards where there was equipment that had rusted and been left to rot,’’ she said. ‘‘It was a bit scary going into the abandoned sites, but I just squeezed through holes in fences. ‘‘The portraits represent how physical, spiritual and psychological identity is threatened by industrialisation, which removes individual human inspiration and imagination. ‘‘We now face a future of surreal, stunted landscapes.’’ Ms Psaltis also completed major works in English Extension II, Music and Society and Culture and was named on the All-round Achievers list for receiving marks in the highest band possible for 10 or more units. She began her combined law and arts degree at the University of Newcastle in February 2015. Artexpress at the Art Gallery of NSW will open to the public from Thursday. The remaining works selected for Artexpress will be on display in venues across the state throughout the remainder of the year. The exhibition will come to Maitland Regional Art Gallery between September 11 and November 1. Rationale of the artwork Alexia Psaltis Hunter School of the Performing Arts SUBSUMED Photomeita Prints to Breathing Colour Velvet paper Subsumed is a series of portraits representing the threat to physical, spiritual and psychological identity from rampant industrialisation. The portraits identify how the dominance of industry removes individual human inspiration and imagination. We face a future of surreal, stunted landscapes populated by impaired humanity, symbolised by the replacement of human physicality with machinery. I photographed all the images of industrial structures, objects and landscapes that convey destruction and invasion. I layered these eclectic images with the human portraits to represent the unchecked, pervasive presence of industrial processes in our lives. We are consumed by industry and its detritus. What is ArtExpress? ARTEXPRESS is an annual exhibition of artworks created by students from government and non-government schools for the Higher School Certificate Examination in Visual Arts. The works demonstrate exceptional quality across a broad range of subject matter, approaches, styles and media including painting, photography, drawing, printmaking, sculpture, documented forms, textiles and fibre, ceramics, digital animation, film and video, and collections of works. ARTEXPRESS represents the high standards and diversity achieved by Year 12 Visual Arts students in New South Wales schools. The continued excellence of the annual ARTEXPRESS exhibition is the outcome of a rigorous Visual Arts curriculum that builds on study from Kindergarten through to Year 12. Visual Arts is part of the core curriculum in primary school and junior high school and a popular elective for the Higher School Certificate examination. Student assessment in Visual Arts for the Higher School Certificate is based on submission of a Body of Work plus a written examination. Each students develops their submission through a process, recorded in a Visual Arts Process Diary, which reflects the problem-solving approach of the practising artist. Equally important especially at senior level, is critical study and art history which plays a crucial role in informing the artworks produced by students. The works chosen for ARTEXPRESS are a representative selection from over 12,000 examination submissions and reflect not only the talent of the individual students, but also the strength of the curriculum and excellence of Visual Arts teaching in New South Wales schools. ARTEXPRESS is shown at 9 metropolitan and regional venues in NSW.
Art student gets subsumed By HELEN GREGORY Newcastle Herald February 10th, 2015 Reproduced with permission of The Newcastle Herald©Copyright 2015 Alexia is the daughter of Peter and Sheri Psaltis, who live in Newcastle, and granddaughter of the late George Psaltis and Alexandra Psaltis (nee, Feros), of Gilgandra, and later Earlwood. ALEXIA Psaltis’ hair-raising expeditions squeezing through fences to photograph abandoned industrial sites have paid off, culminating in an eye-catching piece selected to hang in the Art Gallery of NSW. The 2014 dux of Hunter School of the Performing Arts is the woman behind Subsumed, which has been selected for Artexpress, a showcase of the best works of art completed by NSW students as part of last year’s Higher School Certificate. Of the 219 works selected for exhibitions in galleries across the state, only 37 have been selected for inclusion in the exclusive Art Gallery of NSW exhibit. ‘‘When I heard, I was jumping around in excitement, it was the best feeling,’’ Ms Psaltis said. ‘‘Out of all of my HSC achievements, that’s the one that really stood out to me.’’ Ms Psaltis’ work explores the paradox of Newcastle’s heavy industry sitting alongside its pristine coast. It comprises six surrealistic portraits of female figures, representing Mother Nature, being consumed by industrial structures, objects and landscapes that convey destruction and invasion. Each portrait includes layers of hundreds of photos she captured from both active and abandoned industrial sites including Kooragang Island, Cockatoo Island and around Hexham and Maitland. ‘‘I visited quite a few deserted and unused machinery yards where there was equipment that had rusted and been left to rot,’’ she said. ‘‘It was a bit scary going into the abandoned sites, but I just squeezed through holes in fences. ‘‘The portraits represent how physical, spiritual and psychological identity is threatened by industrialisation, which removes individual human inspiration and imagination. ‘‘We now face a future of surreal, stunted landscapes.’’ Ms Psaltis also completed major works in English Extension II, Music and Society and Culture and was named on the All-round Achievers list for receiving marks in the highest band possible for 10 or more units. She began her combined law and arts degree at the University of Newcastle in February 2015. Artexpress at the Art Gallery of NSW will open to the public from Thursday. The remaining works selected for Artexpress will be on display in venues across the state throughout the remainder of the year. The exhibition will come to Maitland Regional Art Gallery between September 11 and November 1. Rationale of the artwork Alexia Psaltis Hunter School of the Performing Arts SUBSUMED Photomeita Prints to Breathing Colour Velvet paper Subsumed is a series of portraits representing the threat to physical, spiritual and psychological identity from rampant industrialisation. The portraits identify how the dominance of industry removes individual human inspiration and imagination. We face a future of surreal, stunted landscapes populated by impaired humanity, symbolised by the replacement of human physicality with machinery. I photographed all the images of industrial structures, objects and landscapes that convey destruction and invasion. I layered these eclectic images with the human portraits to represent the unchecked, pervasive presence of industrial processes in our lives. We are consumed by industry and its detritus. What is ArtExpress? ARTEXPRESS is an annual exhibition of artworks created by students from government and non-government schools for the Higher School Certificate Examination in Visual Arts. The works demonstrate exceptional quality across a broad range of subject matter, approaches, styles and media including painting, photography, drawing, printmaking, sculpture, documented forms, textiles and fibre, ceramics, digital animation, film and video, and collections of works. ARTEXPRESS represents the high standards and diversity achieved by Year 12 Visual Arts students in New South Wales schools. The continued excellence of the annual ARTEXPRESS exhibition is the outcome of a rigorous Visual Arts curriculum that builds on study from Kindergarten through to Year 12. Visual Arts is part of the core curriculum in primary school and junior high school and a popular elective for the Higher School Certificate examination. Student assessment in Visual Arts for the Higher School Certificate is based on submission of a Body of Work plus a written examination. Each students develops their submission through a process, recorded in a Visual Arts Process Diary, which reflects the problem-solving approach of the practising artist. Equally important especially at senior level, is critical study and art history which plays a crucial role in informing the artworks produced by students. The works chosen for ARTEXPRESS are a representative selection from over 12,000 examination submissions and reflect not only the talent of the individual students, but also the strength of the curriculum and excellence of Visual Arts teaching in New South Wales schools. ARTEXPRESS is shown at 9 metropolitan and regional venues in NSW.
Art student gets subsumed By HELEN GREGORY Newcastle Herald February 10th, 2015 - Reproduced with permission of The Newcastle Herald©Copyright 2015. Alexia is the daughter of Peter and Sheri Psaltis, who live in Newcastle, and granddaughter of the late George Psaltis and Alexandra Psaltis (nee, Feros), of Gilgandra, and later Earlwood. ALEXIA Psaltis’ hair-raising expeditions squeezing through fences to photograph abandoned industrial sites have paid off, culminating in an eye-catching piece selected to hang in the Art Gallery of NSW. The 2014 dux of Hunter School of the Performing Arts is the woman behind Subsumed, which has been selected for Artexpress, a showcase of the best works of art completed by NSW students as part of last year’s Higher School Certificate. Of the 219 works selected for exhibitions in galleries across the state, only 37 have been selected for inclusion in the exclusive Art Gallery of NSW exhibit. ‘‘When I heard, I was jumping around in excitement, it was the best feeling,’’ Ms Psaltis said. ‘‘Out of all of my HSC achievements, that’s the one that really stood out to me.’’ Ms Psaltis’ work explores the paradox of Newcastle’s heavy industry sitting alongside its pristine coast. It comprises six surrealistic portraits of female figures, representing Mother Nature, being consumed by industrial structures, objects and landscapes that convey destruction and invasion. Each portrait includes layers of hundreds of photos she captured from both active and abandoned industrial sites including Kooragang Island, Cockatoo Island and around Hexham and Maitland. ‘‘I visited quite a few deserted and unused machinery yards where there was equipment that had rusted and been left to rot,’’ she said. ‘‘It was a bit scary going into the abandoned sites, but I just squeezed through holes in fences. ‘‘The portraits represent how physical, spiritual and psychological identity is threatened by industrialisation, which removes individual human inspiration and imagination. ‘‘We now face a future of surreal, stunted landscapes.’’ Ms Psaltis also completed major works in English Extension II, Music and Society and Culture and was named on the All-round Achievers list for receiving marks in the highest band possible for 10 or more units. She began her combined law and arts degree at the University of Newcastle in February 2015. Artexpress at the Art Gallery of NSW will open to the public from Thursday. The remaining works selected for Artexpress will be on display in venues across the state throughout the remainder of the year. The exhibition will come to Maitland Regional Art Gallery between September 11 and November 1. Rationale of the artwork Alexia Psaltis Hunter School of the Performing Arts SUBSUMED Photomeita Prints to Breathing Colour Velvet paper Subsumed is a series of portraits representing the threat to physical, spiritual and psychological identity from rampant industrialisation. The portraits identify how the dominance of industry removes individual human inspiration and imagination. We face a future of surreal, stunted landscapes populated by impaired humanity, symbolised by the replacement of human physicality with machinery. I photographed all the images of industrial structures, objects and landscapes that convey destruction and invasion. I layered these eclectic images with the human portraits to represent the unchecked, pervasive presence of industrial processes in our lives. We are consumed by industry and its detritus. What is ArtExpress? ARTEXPRESS is an annual exhibition of artworks created by students from government and non-government schools for the Higher School Certificate Examination in Visual Arts. The works demonstrate exceptional quality across a broad range of subject matter, approaches, styles and media including painting, photography, drawing, printmaking, sculpture, documented forms, textiles and fibre, ceramics, digital animation, film and video, and collections of works. ARTEXPRESS represents the high standards and diversity achieved by Year 12 Visual Arts students in New South Wales schools. The continued excellence of the annual ARTEXPRESS exhibition is the outcome of a rigorous Visual Arts curriculum that builds on study from Kindergarten through to Year 12. Visual Arts is part of the core curriculum in primary school and junior high school and a popular elective for the Higher School Certificate examination. Student assessment in Visual Arts for the Higher School Certificate is based on submission of a Body of Work plus a written examination. Each students develops their submission through a process, recorded in a Visual Arts Process Diary, which reflects the problem-solving approach of the practising artist. Equally important especially at senior level, is critical study and art history which plays a crucial role in informing the artworks produced by students. The works chosen for ARTEXPRESS are a representative selection from over 12,000 examination submissions and reflect not only the talent of the individual students, but also the strength of the curriculum and excellence of Visual Arts teaching in New South Wales schools. ARTEXPRESS is shown at 9 metropolitan and regional venues in NSW.
Art student gets Subsumed By HELEN GREGORY Newcastle Herald February 10th, 2015. Reproduced with permission of The Newcastle Herald ©Copyright 2015 Alexia is the daughter of Peter and Sheri Psaltis, who live in Newcastle, and granddaughter of the late George Psaltis and Alexandra Psaltis (nee, Feros), of Gilgandra, and later Earlwood. ALEXIA Psaltis’ hair-raising expeditions squeezing through fences to photograph abandoned industrial sites have paid off, culminating in an eye-catching piece selected to hang in the Art Gallery of NSW. The 2014 dux of Hunter School of the Performing Arts is the woman behind Subsumed, which has been selected for Artexpress, a showcase of the best works of art completed by NSW students as part of last year’s Higher School Certificate. Of the 219 works selected for exhibitions in galleries across the state, only 37 have been selected for inclusion in the exclusive Art Gallery of NSW exhibit. ‘‘When I heard, I was jumping around in excitement, it was the best feeling,’’ Ms Psaltis said. ‘‘Out of all of my HSC achievements, that’s the one that really stood out to me.’’ Ms Psaltis’ work explores the paradox of Newcastle’s heavy industry sitting alongside its pristine coast. It comprises six surrealistic portraits of female figures, representing Mother Nature, being consumed by industrial structures, objects and landscapes that convey destruction and invasion. Each portrait includes layers of hundreds of photos she captured from both active and abandoned industrial sites including Kooragang Island, Cockatoo Island and around Hexham and Maitland. ‘‘I visited quite a few deserted and unused machinery yards where there was equipment that had rusted and been left to rot,’’ she said. ‘‘It was a bit scary going into the abandoned sites, but I just squeezed through holes in fences. ‘‘The portraits represent how physical, spiritual and psychological identity is threatened by industrialisation, which removes individual human inspiration and imagination. ‘‘We now face a future of surreal, stunted landscapes.’’ Ms Psaltis also completed major works in English Extension II, Music and Society and Culture and was named on the All-round Achievers list for receiving marks in the highest band possible for 10 or more units. She began her combined law and arts degree at the University of Newcastle in February 2015. Artexpress at the Art Gallery of NSW will open to the public from Thursday. The remaining works selected for Artexpress will be on display in venues across the state throughout the remainder of the year. The exhibition will come to Maitland Regional Art Gallery between September 11 and November 1. Rationale of the artwork Alexia Psaltis Hunter School of the Performing Arts SUBSUMED Photomedia Prints to Breathing Colour Velvet paper Subsumed is a series of portraits representing the threat to physical, spiritual and psychological identity from rampant industrialisation. The portraits identify how the dominance of industry removes individual human inspiration and imagination. We face a future of surreal, stunted landscapes populated by impaired humanity, symbolised by the replacement of human physicality with machinery. I photographed all the images of industrial structures, objects and landscapes that convey destruction and invasion. I layered these eclectic images with the human portraits to represent the unchecked, pervasive presence of industrial processes in our lives. We are consumed by industry and its detritus. What is ArtExpress? ARTEXPRESS is an annual exhibition of artworks created by students from government and non-government schools for the Higher School Certificate Examination in Visual Arts. The works demonstrate exceptional quality across a broad range of subject matter, approaches, styles and media including painting, photography, drawing, printmaking, sculpture, documented forms, textiles and fibre, ceramics, digital animation, film and video, and collections of works. ARTEXPRESS represents the high standards and diversity achieved by Year 12 Visual Arts students in New South Wales schools. The continued excellence of the annual ARTEXPRESS exhibition is the outcome of a rigorous Visual Arts curriculum that builds on study from Kindergarten through to Year 12. Visual Arts is part of the core curriculum in primary school and junior high school and a popular elective for the Higher School Certificate examination. Student assessment in Visual Arts for the Higher School Certificate is based on submission of a Body of Work plus a written examination. Each students develops their submission through a process, recorded in a Visual Arts Process Diary, which reflects the problem-solving approach of the practising artist. Equally important especially at senior level, is critical study and art history which plays a crucial role in informing the artworks produced by students. The works chosen for ARTEXPRESS are a representative selection from over 12,000 examination submissions and reflect not only the talent of the individual students, but also the strength of the curriculum and excellence of Visual Arts teaching in New South Wales schools. ARTEXPRESS is shown at 9 metropolitan and regional venues in NSW.
Art student gets Subsumed By HELEN GREGORY Newcastle Herald February 10th, 2015. Reproduced with permission of The Newcastle Herald ©Copyright 2015 [[picture:"Alexia Psaltis 1.jpg" ID:22808]] Alexia is the daughter of Peter and Sheri Psaltis, who live in Newcastle, and granddaughter of the late George Psaltis and Alexandra Psaltis (nee, Feros), of Gilgandra, and later Earlwood. ALEXIA Psaltis’ hair-raising expeditions squeezing through fences to photograph abandoned industrial sites have paid off, culminating in an eye-catching piece selected to hang in the Art Gallery of NSW. The 2014 dux of Hunter School of the Performing Arts is the woman behind Subsumed, which has been selected for Artexpress, a showcase of the best works of art completed by NSW students as part of last year’s Higher School Certificate. Of the 219 works selected for exhibitions in galleries across the state, only 37 have been selected for inclusion in the exclusive Art Gallery of NSW exhibit. ‘‘When I heard, I was jumping around in excitement, it was the best feeling,’’ Ms Psaltis said. ‘‘Out of all of my HSC achievements, that’s the one that really stood out to me.’’ Ms Psaltis’ work explores the paradox of Newcastle’s heavy industry sitting alongside its pristine coast. It comprises six surrealistic portraits of female figures, representing Mother Nature, being consumed by industrial structures, objects and landscapes that convey destruction and invasion. Each portrait includes layers of hundreds of photos she captured from both active and abandoned industrial sites including Kooragang Island, Cockatoo Island and around Hexham and Maitland. ‘‘I visited quite a few deserted and unused machinery yards where there was equipment that had rusted and been left to rot,’’ she said. ‘‘It was a bit scary going into the abandoned sites, but I just squeezed through holes in fences. ‘‘The portraits represent how physical, spiritual and psychological identity is threatened by industrialisation, which removes individual human inspiration and imagination. ‘‘We now face a future of surreal, stunted landscapes.’’ Ms Psaltis also completed major works in English Extension II, Music and Society and Culture and was named on the All-round Achievers list for receiving marks in the highest band possible for 10 or more units. She began her combined law and arts degree at the University of Newcastle in February 2015. Artexpress at the Art Gallery of NSW will open to the public from Thursday. The remaining works selected for Artexpress will be on display in venues across the state throughout the remainder of the year. The exhibition will come to Maitland Regional Art Gallery between September 11 and November 1. Rationale of the artwork Alexia Psaltis Hunter School of the Performing Arts SUBSUMED Photomedia Prints to Breathing Colour Velvet paper Subsumed is a series of portraits representing the threat to physical, spiritual and psychological identity from rampant industrialisation. The portraits identify how the dominance of industry removes individual human inspiration and imagination. We face a future of surreal, stunted landscapes populated by impaired humanity, symbolised by the replacement of human physicality with machinery. I photographed all the images of industrial structures, objects and landscapes that convey destruction and invasion. I layered these eclectic images with the human portraits to represent the unchecked, pervasive presence of industrial processes in our lives. We are consumed by industry and its detritus. What is ArtExpress? ARTEXPRESS is an annual exhibition of artworks created by students from government and non-government schools for the Higher School Certificate Examination in Visual Arts. The works demonstrate exceptional quality across a broad range of subject matter, approaches, styles and media including painting, photography, drawing, printmaking, sculpture, documented forms, textiles and fibre, ceramics, digital animation, film and video, and collections of works. ARTEXPRESS represents the high standards and diversity achieved by Year 12 Visual Arts students in New South Wales schools. The continued excellence of the annual ARTEXPRESS exhibition is the outcome of a rigorous Visual Arts curriculum that builds on study from Kindergarten through to Year 12. Visual Arts is part of the core curriculum in primary school and junior high school and a popular elective for the Higher School Certificate examination. Student assessment in Visual Arts for the Higher School Certificate is based on submission of a Body of Work plus a written examination. Each students develops their submission through a process, recorded in a Visual Arts Process Diary, which reflects the problem-solving approach of the practising artist. Equally important especially at senior level, is critical study and art history which plays a crucial role in informing the artworks produced by students. The works chosen for ARTEXPRESS are a representative selection from over 12,000 examination submissions and reflect not only the talent of the individual students, but also the strength of the curriculum and excellence of Visual Arts teaching in New South Wales schools. ARTEXPRESS is shown at 9 metropolitan and regional venues in NSW.
submitted by Lafcadio Hearn Files on 15.03.2014
in translating 3 books by Lafcadio Hearn (2014). The symbol appears on the cover of each book. [This is the first time in history that entire Lafacdio Hearn books have been translated, with a view to having them printed and published] Μεταφράζοντας τον Λευκάδιο Χερν στα ελληνικά ギリシャ語訳ラフカディオ・ハーン Τέτη Σώλου: Οι μεταφράσεις μου των έργων του Λευκάδιου Χερν και οι σημειώσεις μου σχετικά με το έργο και τη ζωή του. Η ιστορία ενός συμβόλου Πριν από πολλά χρόνια η Άννα μου είχε χαρίσει ένα κόσμημά της. Μια καρφίτσα από αλπακά. Η αξία του κοσμήματος είναι μικρή. Η «από διαθέσεως αξία», που λένε τα νομικά βιβλία είναι μεγάλη, μια και το δώρο είναι από τη γιαγιά μου που κι εκείνης της το είχε δώσει η προγιαγιά μου. Οικογενειακό κειμήλιο μ' άλλα λόγια. H καρφίτσα της γιαγιάς. Xρυσάνθεμο Kαρφίτσα Η συναισθηματική του αξία έγινε ακόμα πιο μεγάλη, όταν συνάντησα την ίδια καρφίτσα σε μια παλιά φωτογραφία της Αλεξάνδρας Παπαδοπούλου. Ναι, ναι της πρώτης Ελληνίδας διηγηματογράφου, που την αγαπώ πολύ και που παρ' όλο που έζησε λίγους μήνες στη Θεσσαλονίκη, εγώ την έχω συνδέσει με την αγαπημένη μου πόλη. Το βιβλίο που έχω γράψει για τη Θεσσαλονίκη ξεκίνησε από ένα μικρό κείμενό της. Αλεξάνδρα Παπαδοπούλου Στην μοναδική φωτογραφία της που σώζεται, η Αλεξάνδρα Παπαδοπούλου φοράει μια καρφίτσα ίδια, ολόιδια με το δώρο της γιαγιάς. Τυχαίο; Ο Λευκάδιος Χερν και η Ιαπωνία που γνώρισα μέσα από τα γραπτά του μ' έφεραν μπροστά στο ιτσιμοντζιγκινού. Στο χρυσάνθεμο που είναι το σύμβολο του αυτοκράτορα. Συνδέθηκε με την αυτοκρατορική οικογένεια εξ αιτίας της ομοιότητάς του με τον ήλιο. Xρυσάνθεμο Iαπωνία Στην ιαπωνική μυθολογία η θεά του ήλιου, η Αματεράσου, έφερε στον κόσμο τον Τζιμμού, τον πρώτο αυτοκράτορα της Ιαπωνίας. Το αυτοκρατορικό έμβλημα παρουσιάζει ένα χρυσό χρυσάνθεμο με δεκαέξι πέταλα, γνωστό ως ιτσιμοντζιγκινού. Τζιμμού, ο πρώτος αυτοκράτορας της Ιαπωνίας Το χρυσάνθεμο, που μοιάζει με τον ήλιο που τόσο λαμπερός φαίνεται πίσω από τον Τζιμμού, βρήκα πως είναι ένα παγκόσμιο σύμβολο. Ιάπωνες, Ασσσύριοι, Σουμέριοι, Αιγύπτιοι ως το Μεξικό είχαν συγκινηθεί από αυτό το σύμβολο. Το ίδιο και οι αρχαίοι Έλληνες. Από το παλάτι του Μίνωα στην Κνωσσό μέχρι τον τάφο του Φιλίππου συναντάμε αυτόν τον συνδυασμό του παντοδύναμου ήλιου με το λουλούδι σε πλήρη άνθιση αποτυπωμένο σε τοιχογραφίες, αγγεία, λάρνακες, αγάλματα. Ψάχνοντας χτες το βράδυ τα χαρτιά μου σύνδεσα όλες αυτές τις πληροφορίες κι έκανα συνειρμούς που δεν είχα κάνει πρωτύτερα. Η καρφίτσα της γιαγιάς και της Αλεξάνδρας Παπαδοπούλου, το λαμπερό σύμβολο της χώρας του Ανατέλλοντος Ήλιου και της Αρχαίας Ελλάδας από την Κρήτη μέχρι τη Μακεδονία... και όχι μόνο. Το σήμα της σειράς των έργων του Λευκάδιου Χερν σε μετάφραση Τέτης Σώλου Είναι ταιριαστό να συνοδεύει τη σειρά των έργων του Λευκάδιου Χερν, του οικουμενικού ανθρώπου με το ανοιχτό μυαλό, ένα οικουμενικό σύμβολο πνευματικής δύναμης και ακμής. Ο ίδιος ο Λευκάδιος δεν γνώρισε παρακμή. Ο θάνατος τον βρήκε στα 54 χρόνια του έχοντας αφήσει σπουδαίο συγγραφικό έργο κι έχοντας ενδεχομένως άλλα τόσα να γράψει. Το εξώφυλλο του Κοττό
Translating (3 books) by Lafcadio Hearn into Greek [This is the first time in history that entire Lafacdio Hearn books have been translated, with a view to having them printed and published] Μεταφράζοντας τον Λευκάδιο Χερν στα ελληνικά ギリシャ語訳ラフカディオ・ハーン Τέτη Σώλου: Οι μεταφράσεις μου των έργων του Λευκάδιου Χερν και οι σημειώσεις μου σχετικά με το έργο και τη ζωή του. Η ιστορία ενός συμβόλου Πριν από πολλά χρόνια η Άννα μου είχε χαρίσει ένα κόσμημά της. Μια καρφίτσα από αλπακά. Η αξία του κοσμήματος είναι μικρή. Η «από διαθέσεως αξία», που λένε τα νομικά βιβλία είναι μεγάλη, μια και το δώρο είναι από τη γιαγιά μου που κι εκείνης της το είχε δώσει η προγιαγιά μου. Οικογενειακό κειμήλιο μ' άλλα λόγια. H καρφίτσα της γιαγιάς. Xρυσάνθεμο Kαρφίτσα Η συναισθηματική του αξία έγινε ακόμα πιο μεγάλη, όταν συνάντησα την ίδια καρφίτσα σε μια παλιά φωτογραφία της Αλεξάνδρας Παπαδοπούλου. Ναι, ναι της πρώτης Ελληνίδας διηγηματογράφου, που την αγαπώ πολύ και που παρ' όλο που έζησε λίγους μήνες στη Θεσσαλονίκη, εγώ την έχω συνδέσει με την αγαπημένη μου πόλη. Το βιβλίο που έχω γράψει για τη Θεσσαλονίκη ξεκίνησε από ένα μικρό κείμενό της. Αλεξάνδρα Παπαδοπούλου Στην μοναδική φωτογραφία της που σώζεται, η Αλεξάνδρα Παπαδοπούλου φοράει μια καρφίτσα ίδια, ολόιδια με το δώρο της γιαγιάς. Τυχαίο; Ο Λευκάδιος Χερν και η Ιαπωνία που γνώρισα μέσα από τα γραπτά του μ' έφεραν μπροστά στο ιτσιμοντζιγκινού. Στο χρυσάνθεμο που είναι το σύμβολο του αυτοκράτορα. Συνδέθηκε με την αυτοκρατορική οικογένεια εξ αιτίας της ομοιότητάς του με τον ήλιο. Xρυσάνθεμο Iαπωνία Στην ιαπωνική μυθολογία η θεά του ήλιου, η Αματεράσου, έφερε στον κόσμο τον Τζιμμού, τον πρώτο αυτοκράτορα της Ιαπωνίας. Το αυτοκρατορικό έμβλημα παρουσιάζει ένα χρυσό χρυσάνθεμο με δεκαέξι πέταλα, γνωστό ως ιτσιμοντζιγκινού. Τζιμμού, ο πρώτος αυτοκράτορας της Ιαπωνίας Το χρυσάνθεμο, που μοιάζει με τον ήλιο που τόσο λαμπερός φαίνεται πίσω από τον Τζιμμού, βρήκα πως είναι ένα παγκόσμιο σύμβολο. Ιάπωνες, Ασσσύριοι, Σουμέριοι, Αιγύπτιοι ως το Μεξικό είχαν συγκινηθεί από αυτό το σύμβολο. Το ίδιο και οι αρχαίοι Έλληνες. Από το παλάτι του Μίνωα στην Κνωσσό μέχρι τον τάφο του Φιλίππου συναντάμε αυτόν τον συνδυασμό του παντοδύναμου ήλιου με το λουλούδι σε πλήρη άνθιση αποτυπωμένο σε τοιχογραφίες, αγγεία, λάρνακες, αγάλματα. Ψάχνοντας χτες το βράδυ τα χαρτιά μου σύνδεσα όλες αυτές τις πληροφορίες κι έκανα συνειρμούς που δεν είχα κάνει πρωτύτερα. Η καρφίτσα της γιαγιάς και της Αλεξάνδρας Παπαδοπούλου, το λαμπερό σύμβολο της χώρας του Ανατέλλοντος Ήλιου και της Αρχαίας Ελλάδας από την Κρήτη μέχρι τη Μακεδονία... και όχι μόνο. Το σήμα της σειράς των έργων του Λευκάδιου Χερν σε μετάφραση Τέτης Σώλου Είναι ταιριαστό να συνοδεύει τη σειρά των έργων του Λευκάδιου Χερν, του οικουμενικού ανθρώπου με το ανοιχτό μυαλό, ένα οικουμενικό σύμβολο πνευματικής δύναμης και ακμής. Ο ίδιος ο Λευκάδιος δεν γνώρισε παρακμή. Ο θάνατος τον βρήκε στα 54 χρόνια του έχοντας αφήσει σπουδαίο συγγραφικό έργο κι έχοντας ενδεχομένως άλλα τόσα να γράψει. Το εξώφυλλο του Κοττό
submitted by Australian Financial Review on 01.10.2013
The Australian Financial Review Magazine. pp. 48-52. October Magazine. Friday 27th October, 2013 Article: To Draw is to See Drawing is a crucial tool in an architect’s kit, but it’s use goes way beyond drafting building plans. Six (prominent Australian) architects tell Katrina Strickland when and where they sketch – and how much it means to them. One of the 6 Australian architects chosen to comment was Kytherian architect..... Eva-Marie Prineas Architect Prineas Once I began studying architecture, the way I sketched changed. I sketch in the office and also try to sketch when we go away, although with two children aged three and five it is easier when I travel alone. I probably don’t sketch enough in meetings because l'm self-conscious. I’m not confident enough to sketch in front of a client when the idea is not yet fully formed. But I have seen how sketching can completely seduce a client - some architects are masters. My father is from the Greek island of Kythera, which is south of the Peloponnese and north of Crete. When l was at university I started working on a conservation plan for our family house, which is at the top of the island in a village called Mitata. When you go there it is like stepping back into the 1940’s. We got married there and until we had children, travelled there every summer. Our neighbour in Mitata, who is also an architect, organised a week of tango one summer. This sketch is of the master classes we would have in the morning in the old school house at the main square. The image above is from the island of Naoshima in Japan, where there are a number of art museums including Chichu. To enter one of the galleries here, you have to remove your shoes and put on little slippers. You go through a dark space first, then emerge into a diffusely lit white room. Three significant Monet paintings appear to float on each of the walls. I made this sketch from memory afterwards. I was taken by the small moves the architect made, which completely changed the way I perceived the paintings.
submitted by Lafcadio Hearn Files on 28.04.2013
The sculpture is 120 cm's high. How did Masaaki become so involved in Greek culture? Masaaki was introduced to Greek culture, and the work of Lacadio Hearn, through Art Collector, Takis Efsathiou. Masaaki first met Lafcadio Hearn's grandson, Bon Koizumi at the Matsue Muesum, in Japan on July 5th 1996. Takis Efstathiou organized Masaaki's first one person exhibition at the gallery Cyclades Antiebs in France in1995. At this time Masaaki travelled to Greece for the first time. He visited Takis holiday house at Coulf, and then travelled to Lefkatha, Delfi and Athens. This visit had a profound infuence on his life and art, and began his involvement with Lafcadio Hearn, Greek culture, and Greece. Takis Efstathiou then visited Japan for the first time. Together, in 1996 they organsised the Theodoros Stamos exhibition at the Hiro Gallery in Tokyo. Stamos was very keen to visit Japan, as Japanese culture exerted a great influence on his life and work. Stamos created drawings and brush stroke painting such as the "Tea House", which display an obvious Japanese influence. Stamos was ill, unfortunately, and was soon thereafter hospitalized. He could not risk a visit to Japan. Masaaki enticed Takis Efstahiou to visit Tokyo, Kyoto, Osaka, Okayama, Hiroshima and Matsue. Takis became deeply involved with Japanese culture after this visit. They have worked together since on a number of cultural projects, including the dedication of superb and significant sculptures to various Greek cities, which have resulted in a strengthening of the relationship between Greece and Japan. New York Time Obituary of Theodoros Stamos Theodoros Stamos, 74, Abstract Painter, Dies By ROBERTA SMITH Published: February 04, 1997 Theodoros Stamos, a precocious member of Abstract Expressionism's first generation and a prominent figure in a trial that rocked the art world in the 1970's, died on Sunday at the Hatsikosta Hospital in Yiannina, Greece, which he entered 12 days ago. He was 74 and lived in Manhattan and on the island of Lefkada, Greece. He died of a lung ailment, said Takis Efstathiou, a friend. Mr. Stamos was never considered an Abstract Expressionist of the first rank, and was nearly a generation younger than its chief innovators. But he committed himself to painting while still a teen-ager and was among the style's earlier adherents. He was also a close friend to many Abstract Expressionist artists, most famously Mark Rothko. When Rothko committed suicide in 1970, Mr. Stamos had been named one of the three executors of his estate, along with Bernard J. Reis, an accountant, and Morton Levine, a professor of anthropology. In 1971, guardians acting on behalf of Rothko's children filed a petition against the executors charging that they had sold a large group of paintings to Rothko's representative, Marlborough Gallery, at an unusually high discount that was detrimental to his reputation, and that they were wasting the assets of the estate. The petition demanded their dismissal and cancellation of the contracts with Marlborough. The petition noted that Mr. Reis was an officer of the gallery, and that Mr. Stamos was invited to join the gallery around the time of the sale. He had an exhibition there in 1972. The case eventually led to an eight-month trial that concluded in 1975, when Surrogate Millard A. Midonick ruled that Mr. Stamos and the other executors were guilty of negligence and conflict of interest. He dismissed them, canceled the contracts with Marlborough and levied $9.2 million in fines and assessments. Mr. Stamos paid his share by signing over to the Rothko estate his house, valued at $435,000, although Judge Midonick awarded him a life tenancy. Mr. Stamos's reputation never recovered. He continued to exhibit his work in New York City, but less frequently, and at less prestigious galleries. His most recent exhibition was at the ACA Gallery in 1992. Nonetheless he exhibited often in other parts of the world, especially in Greece. For an exhibition at the Hiro Gallery in Tokyo in 1996 the biographical data chronicled his involvement with Rothko, his estate and the outcome of the trial. Theodore Stamos was born in Manhattan on Dec. 31, 1922, the son of Greek immigrants who ran a hat-cleaning and shoeshine shop near St. Mark's Place. He began to draw while recovering from a ruptured spleen at the age of 8. He attended Stuyvesant High School where he studied art, mostly sculpture, for three years, quitting in 1939 just three months before graduation. During the 1940's, Mr. Stamos supported his painting by running a small frame shop on East 18th Street in Manhattan where his customers included such artists as Arshile Gorky and Fernand Leger. He had his first solo show in New York at the Wakefield Gallery/Bookshop, run by Betty Parsons, who would later become a prominent dealer for Abstract Expressionists. He was included in the 1945 Whitney Biennial; in 1946, the Museum of Modern Art acquired one of his paintings. The Modern also included his work in its legendary touring exhibition ''The New American Painting,'' which introduced Abstract Expressionism to European audiences in 1958 and '59. Between the late 1940's and 1970, Mr. Stamos exhibited regularly in New York, first with Ms. Parsons and then with Andre Emmerich. Mr. Stamos's artistic style coalesced in the late 1940's and involved muted colors and soft-edged organic shapes somewhat influenced by the work of Milton Avery and William Baziotes. It was a style that he adhered to for the rest of his life, sometimes paring down the shapes to glowing fissures of color. Its strengths lay in its sense of muffled light and its sensitive, modulated surface. In the late 1980's, these surfaces turned thick and lunar and at times the lines of color would be backed by relaxed, squarish shapes reminiscent of Rothko's compositions. Mr. Stamos's work is represented in public collections around the world. He is survived by three sisters, Georgina Savas and Chrisula Venetsianos, of Manhattan, and Kostas Stamastelos
submitted by Lafcadio Hearn Files on 09.04.2013
Photograph. Noda creating a sculpture in his studio. Artistic Resume 1949 - Born, Fukuyama, Hiroshima, Japan 1969 -1972 - Osaka University of Arts, Osaka 1977- Left Japan for New York City 1977-1980 - The Art Students League of New York Selected Solo Exhibitions: 1982 - ACWLP Gallery, New York, NY - Kew Gallery, New York, NY 1982, 1985 - Miriam Per Iman Gallery, Chicago, Illinois 1984, 1985 - Belle Art Gallery, Nyack, NY 1985 - Osaka Contemporary Art Center, Osaka 1986, 1991 - Yoh Art Gallery, Osaka 1986, 1991, 2000 - Gallery Hiro, Tokyo 1988, 1989 - Wenniger Gallery, Boston & Provincetown, MA 1987, 1990 - Gilbert Luber Gallery, Philadelphia, P A 1990 - Artist Gallery, New York, NY 1991 - Fukuyama Museum of Art, Fukuyama, Hiroshima 1992 - SPF US A Gallery and Library, Washington, DC 1995 - Galerie Les Cyclades, Antibes, France 1999 - 70th Art Gallery, New York, NY 2003 - Andre Zarre Gallery, New York, NY 2004 - Shenzhen Museum of Art, Shenzhen, China 2005 - Astrolavos Gallery, Athens, Greece - European Cultural Centre of Delphi, Greece 2006 - Fukuyama Museum of Art, Fukuyama, Hiroshima 2008 - Howard Salon, Taipei, Taiwan 2009 - The American College of Greece, Athens, Greece - Gallery Kiku, Osaka 2010 - Marathon Start Exhibition Center, Marathon Municipality Selected Exhibitions & Projects: 1982 - International Aerial Art Orchestration (Sky Sculpture), Central Park, New York, NY 1992 - Visions in Between, The Art Foundation, New York, NY, Walker Hill Museum of Art, Seoul Korea, Fukuyama Museum of Art, Fukuyama, Hiroshima 1994 - Theodoros Stamos, Jakob Bill, Masaaki Noda, Galerie Les Cyclades, Antibes, France 1997 - Two Stained Glass, 2.35x6.3M, 2x5.05M, Keihan Rail Road at Uji Station, Kyoto 1999 - Thirty Works by The Art Students League of New York, Alumini 1965 - 95, New York, NY 2000 - Stainless Steel Sculpture, 6MH, Shinichi-cho, Fukuyama, Hiroshima 2001 - Rain Forest Exhibition, Las Vegas Art Museum, Nevada, CA, Chinese Cultural Center, New York, NY, Asian Art s & Culture Center, Towson Uni 2002 - Stainless Steel Sculpture, 5MH, Tode High School, Fukuyama, Hiroshima - A Century on Paper Prints by Art Students League Artists, 1999 -2001, UBS Paine Webber Art Gallery, New York, NY 2003 - Stainless Steel Sculpture 3MH, Hirano Kindergarten, Kannabe, Hiroshima 2004 - Stainless Steel Sculpture, 3.5MH, Shenzhen Museum of Art, Shenzhen, China - Athens Art Fair, Athens, Greece 2005 - Stainless Steel Sculpture, 3.8MH, European Cultural Centre of Delphi, Greece 2007 - Michael Michaeledes, Masaaki Noda, Art Forum Gallery, Thessaloniki, Greece 2008 - Two Glass Sculptures 0.3MH, 0.8MH & Painting 2.5x7.5M, Fukuyama City Center Library, Hiroshima - Silent Dialogues, ACG Art Gallery, The American College of Greece, Athens, Greece 2009 - Stainless Steel Sculpture, 4MH, The American College of Greece, Athens, Greece - Stainless Steel Sculpture, 3MH, Fukuyama Museum of Art, Fukuyama, Hiroshima - The Open Mind of Lafcadio Hearn, ACG Art Gallery, Athens, Greece 2010 - Stainless Steel Sculpture, 5MH, Marathon Stadium, Mara thon Municipality, Greece - Stainless Steel Sculpture, 2.7MH, Kishi Park, Matsue, Shimane - The Open Mind of Lafcadio Hearn, Matsue Castle, Matsue, Shimane 2011 - Stainless Steel Sculpture, 3.85MH, Hiroshima City of Contemporary Art, Hiroshima - Window Glass, 4x1.9M, Automatic Door, 2.3x2.8M, Fukuyama City University, Fukuyama, Hiroshima - The Open Mind of Lafcadio Hearn, Nippon Gallery, New York, NY 2012 - Stainless Steel Sculpture, 7.15MH, Fukuyama Station Square, Fukuyama, Hiroshima Selected Public Collections: Albright-Knox Museum, Buffalo, NY Art Students League of New York, NY Brooklyn Museum, Brooklyn, NY Duxbury Art Complex Museum, Duxbury, MA Minnesota Art Museum, Minneapolis, MN Philadelphia Museum of Art, Philadelphia, PA Portland Art Museum, Portland, OR Costakis Collection, Athens, Greece Embassy of Japan, Athens, Greece European Cultural Center of Delphi, Delphi, Greece Macedoniko Museum of Contemporary Art, Thessaloniki, Greece Marathon Museum, Marathon Municipality, Greece Municipality of Lefcas, Lafcada, Greece National Art Gallery, Athens, Greece State Museum of Contemporary Art, Thessaloniki, Greece The American College of Greece, Athens, Greece Shenzhen Museum of Art, Shenzhen, China Taipei Museum of Art, Taipei, Taiwan Embassy of Greece in Japan, Tokyo Fukuyama Museum of Art, Fukuyama, Hiroshima, Hiroshima City Museum of Contemporary Art, Hiroshima, Hiroshima Prefectural Art Museum, Hiroshima Lafcadio Hearn Memorial Museum, Matsue, Shimane Matsue City, Shimane Tama Art University Museum of Art, Tokyo Yamanashi Prefectural Museum of Art, Kofu, Yamanashi Sponsors: H.E. Mr. Nikolaos Tsamados, Ambassador of Greece in Japan Takis Efstathiou, International Cultural Coordinator Dimitrios Vassiliadis, University of Athens Bon Koizumi, The University of Shimane Junior College Shoko Koizumi Noda Metal Working Industry Co., Ltd Mishima Sangyo Co., Ltd Fukuyama City 3-5 Higashisakura-machi, Fukuyama, Hiroshima Tel 084-921 -2111 www.city.fukuyama.hiroshima.jp Download a .pdf version of Masaaki Noda's Resume here: Resume 1.pdf
submitted by Powerhouse Museum, Sydney on 14.05.2012
Statement of significance This handwoven rug is titled 'Creation' and was designed by Joice NanKivell Loch and woven by Turkish refugees in the village of Ouranopoulis, in Greece in the mid 1900s. Joice and her husband Sydney were deeply committed to alleviating poverty in Ouranoupolis. While visiting an elderly patient suffering from malnutrition, Joice became aware that the village women could use their weaving skills to earn income and saw this as an opportunity to help the villagers become self-sufficient. She sourced wool and cotton, had a loom built, learned about natural dyes and formed a women's weaving cooperative called Pyrgos Rugs. Joice's designs had a distinctive Greek rather than Turkish identity, as anti-Muslim sentiment was strong in Greece. Inspiration for the designs came from frescoes, carvings and illuminated manuscripts that Sydney would photograph for her. Joice translated the photographic image into an intricate design featuring Byzantine motifs. The design for the 'Creation' rug features a circular motif composed of a two-headed dragon which is biting itself and 'breathing out' evolving plant and animal life. Joice NanKivell Loch, who was born in Queensland in 1887 and died in 1982, is Australia's most decorated woman. This rug, with its Byzantine-inspired design, reflects Joice's extraordinary life and humanitarian work. In addition to the selfless work she and her husband engaged in for decades in Greece, she was an Allied agent during World War 2. On one occasion, she organised a train trip and rescued Jewish children from Nazi death camps by dressing them as Gentile daytrippers. **Reference: Susanna de Vries, Blue ribbons, bitter bread: the life of Joice Nankivell Loch, Australia's most heroic woman, Pirgos Press-Tower Books, Sydney, 2006 (**A superb book). Christina Sumner, Curator Decorative Arts & Design September 2006 Production notes This handwoven rug is called 'Creation' and was designed by Joice NanKivell Loch (b.1887) and woven by Turkish refugees in Pyrgos, Greece. Joice Loch ran Pyrgos Rugs from her home in the historic tower of Prosforion in what was the former refugee village of Ouranoupolis. She organised a cooperative for the Turkish women of the village as well as the materials and looms. Most of the women and girls wove the rugs at home. Often two girls sat side by side at a loom weaving from designs Joice copied for them on graph paper - known as cartoons. Even girls who were unable to read or write were able to follow the cartoons which were nailed above the loom. Joice's designs for the rugs had a distinctive Greek identity rather than Turkish, as anti-Muslim sentiment was strong. Inspiration for the designs came from frescoes, carvings and illuminated manuscripts that Sydney would photograph. Joice would translate the photographic image into an intricate design featuring Byzantine motifs. Natural hand-produced dyes were used for longer-lasting colour. Pink or pinkish beige as seen in this rug was produced by using pine chips with salt added as a mordant, or from willow bark to which alum had been added. Bright green was produced by fermenting cow manure and ivy leaves. A more brilliant hue could be attained by using human urine. Herbs, leaves, sawdust, berries, blossom, bark and beetles were also some of the ingredients used in the making of the natural dyes. Pygros Rugs were marketed as luxurious collectibles featuring unique designs. Genuine Pyrgos rugs feature the 'Nutcracker Eagle' motif in some form.The motif is woven into a corner of the 'Creation' rug. The two-headed dragon is shown 'breathing out' evolving plant and animal life in a circular formation on a khaki background. The evolving plant and animal life is repeated in the border. The 'Nutcracker Eagle' motif is the oldest form of the double-headed eagle on nearby Mt Athos and originated from the carved wooden nutcrackers which were used by the early hermits on the Mountain. Reference: Susanna de Vries, Blue ribbons, bitter bread: the life of Joice Nankivell Loch, Australia's most heroic woman, Pirgos Press-Tower Books, Sydney, 2006 History notes The 'Creation' rug is testament to the extraordinary life of an exceptional Australian woman. Joice NanKivell Loch (1887-1982) was born into one of Australia's wealthiest families during a cyclone on a Queensland sugar plantation. The abolition of slave labour saw a reverse in the family fortunes and, determined to escape a life of poverty, Joice wrote children's stories and became one of Australia's first female journalists. Joice met her husband, Sydney Loch, a Gallipoli veteran and writer, when she reviewed his Gallipoli book 'Straits Impregnable'. They married in 1918 and travelled to Ireland where they were commissioned to write an anti-IRA book. To escape the ire of the IRA, they travelled to Poland where they worked with the Quakers, rescuing countless dispossessed people from disease and starvation. In 1922, Joice and Sydney went to the refugee village of Ouranopoulis in Greece to work with the thousands of Greek Orthodox refugees fleeing Turkish persecution. They made their home in the tower of Prosforion which was built, in the shadow of Mt Athos, by a Byzantine emperor. Joice and Sydney were deeply committed to alleviating poverty in Ouranoupolis. While visiting an elderly patient suffering from malnutrition, Joice became aware that the village women might use their weaving skills to earn income. They had been weavers in Turkey and Joice saw this as an opportunity to make the village self-sufficient. She sourced wool and cotton, had a loom built and formed a women's weaving cooperative, Pyrgos Rugs. Being aware that anti-Muslim sentiment meant that rugs featuring Turkish designs in a Greek market would not sell, Joice based the designs for Pyrgos Rugs on ancient Greek motifs. She saw her rugs as 'art history' and also drew from prehistoric designs on cave walls in Australia, Africa and Europe. With perseverance and patience, Joice was able to persuade the women to weave rugs featuring Byzantine and other non-Turkish designs using natural dyes. Three of the very first Pyrgos Rugs designed by Joice won first prize at the International Trade Fair in Thessalonika. The success of Prygos Rugs was assured. Other examples of Joice's courage and humanitarian efforts include working as an agent for the allies during World War 2. For example, she organised a train trip and rescued Jewish children from Nazi death camps by dressing them as Gentile daytrippers - it was given the codename 'Operation Pied Piper' by the British Foreign Office. Joice NanKivell Loch received a total of 11 medals from Greece, Poland, Romania and Britain for her humanitarian efforts and courage. She is Australia's most decorated woman and has been acknowledged by the Greek Orthodox Bishop of Oxford, as 'one of the greatest women of the 20th century.' The 'Creation' rug was one of five Pyrgos rugs donated to the Australia Council. In 2005, the Council agreed to donate one of these to the Greek people for display in the Byzantine Museum in Ouranopolis (formerly the tower Prosforian which was Joice and Sydney's home.) Two rooms of the museum are dedicated to displaying Joice's work. The Council subsequently offered one of the remaining four rugs to the Powerhouse Museum; the rug selected was chosen as it best represents the Byzantine designs for which Pyrgos Rugs are renowned. The other three rugs have been retained by the Australia Council and are on public display in their Sydney offices. Reference: Susanna de Vries, 'Blue ribbons, bitter bread: the life of Joice Nankivell Loch, Australia's most heroic woman', Pirgos Press-Tower Books, Sydney, 2006 This text content licensed under CC BY-NC. Description Rug, 'Creation', cotton / wool, designed by Joice NanKivell Loch, handwoven by Turkish refugees, Pyrgos, Greece, mid 1900s Rectangular pile rug called 'Creation' with a Byzantine style design, handwoven with naturally dyed wool in pale green, khaki, pink and cream. The centre of the rug features four cream two-headed dragons, off-set from each corner. The two-headed dragon is 'breathing out' the evolution of plant and animal life in a circular formation on a khaki background; the evolving plant and animal life theme is repeated in the border which is itself edged with a narrow chevron outer border. The 'Nutcracker Eagle' motif in cream features in one corner, just inside the outer border, with possibly a Byzantine symbol in brown in the opposite corner. Designed: NanKivell Loch, Joice; Pyrgos, Greece; 1930 - 1960 Registration number 2006/132/1 Production date 1930 - 1960 Width 1130 mm This text content licensed under CC BY-SA. Acquisition credit line Gift of the Australia Council for the Arts, 2006 Subjects + Greek Australian culture + Textile design Read more: http://www.powerhousemuseum.com/collection/database/?irn=361572#ixzz1uosG238R Under Creative Commons License: Attribution Non-Commercial
https://www.awm.gov.au/collection/R1698495/?fbclid=IwAR0WFtWvB3_okUB79dxY-PiQE4AgWkshKHrGerYofhj7bfStZ_-YrVWQoPQ
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