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by Archaeology Newsroom

Tradition and Innovation in the Tapestries of Artemis

The first time I met Artemis, in the summer of 1994, she had already settled down on her beloved Tinos. The discovery of her real artistic vocation went quite many years back, her first cycles of creation had by then been completed: “Song of Songs’, The Creation”, “Man”, “Delos”. “The Birth of Apollo”. “Apollo”, ‘Arte¬mis”, to mention a few.

Her passionate involvement with grand “historical” subjects, in which she was putting new life using a dra¬matic narration as well as symbols of eternal truth and human strife, was already apparent

Artemis started working on the “Odyssey” cycle in 1990 and completed it in 2000. The idea seemed fascinating and was indicative of a revival of interest in this ancient Greek epic.

Artemis is usually weaving on a vertical loom and makes innumerable drawings, sketches and collages as the composition develops. Viscose, one of her favorite materials, gives interesting solutions to problems related with the rendering of light. The light in her tapestries is spiritual, esoteric and stresses the general symbolic content of the subject. The fact that such compositions are abstract does not outshine their prominent narrative qualities. Artemis is a skilful storyteller: not only she invents fascinating new ways to tell old stones, but she also comes up with original, individual interpretations. Her approach is selective and clearly poetic.

The year 2000 was marked by the completion of the “Odyssey” cycle and the beginning of her engagement with the second major project, the “Unicorn” series, which was presented in the Epistrofos Exhibition.