'Tracing' I, II, III (video, performance)
Having a genuine interest in how ephemeral, fragile and abstract shapes can be significant both in terms of aesthetics and meaning, Amalia observed everyday life and her surrounding environment in Greece. Specifically, she looked at the Greek custom of fortune-telling through the interpretations of stains/ marks of Turkish or else Greek coffee on the coffee cup. According to this custom, the stains of coffee on the cup are perceived as signs that can be interpreted, rationalised and at last predict the future. This custom is common both in Greece and Turkey.
In the past, in 2012 in Cunda Island, Turkey, Amalia explored the Turkish or else Greek coffee as a signifier of the precarious political relationship among Greece and Turkey. In both countries, the same kind of crops of coffee is used. Furthermore, they both undertake the same process of boiling the coffee in a briki and the same way of serving it, whilst before the coffee is consumed, they both let the grounds to settle. Once the coffee is consumed, the cup with the grounds are shaken. Finally, the cup is turned upside down, in order for the stains to dry. Usually, an older family member is interpreting the stains as symbols that 'cast' the future.
Greek coffee was primarily called Turkish, but due to the Ottoman occupation of Greece (1453-1821) and the subsequent political rivalry, it is called Greek in Greece and Turkish in Turkey.
Through the videos 'Tracing I, II, II' Amalia explored the use of Turkish/ Greek coffee, together as a cultural product and a material with easthetical significance, due to its ephemerality, fragility and its abstract shapes. Eventually, she was able to process thoughts that concern art-methodolies and to consider whether art practices, like cultural traditions can shift the meaning and value of: materials, forms and gestures.
In the video 'Tracing I' the woman who interprets the marks is the artist's grandmother. The videos 'Tracing II', III' were produced so as to explore the materiality of the Greek/Turkish coffee and the traditional cup, as well as their potential uses, such as printmaking.
'Tracing I', 2014, Athens, Greece
'Tracing II', 2014, London, England
'Tracing II', 2014, London, England
'Tracing III', 2014, Athens, Greece
'Amellia and her Shoes' (video, performance)
In 2013 the wooden shoes were created for walking the street 'Athinas' in Athens, Greece, within the context of somniferous actions with 'Guerilla Optimists' and for performing in the 'Festival Voix de la Mediterranee' in Lodeve, France. Having experimented for a prolonged period of time, in 2014 'Amellia and her Shoes' was created. The technical support of the artist Dimitris Tataris and the photographer's Dimitris Priftis were valuable.
Equilibrium, making steps and being unbalanced are significant elements of wearing the shoes. However, the whole process aided to restructure the balance of the body and to raise embodied consciousness. Although being unbalanced was an extensive part of the experience, many times the artist felt in a position of power.
'Amellia's Shoes', 2014, Athens, Greece
'Noumena' (fabricated objects and prints with Greek/ Turkish coffee)
'Noumena', sculptures made of grounds/ sediments of Greek/ Turkish coffee in the cups and wooden frame 37.0 x 45.0 cm, 2014, London, England
'Noumena' or else 'Tablecloth with Greek-Turkish Coffee', traditional table cloth, silk-screen prints with Greek-Turkish coffee, 1.40 x 1.35 cm, 2015, Athens, Greece
'Noumena' or else 'Coffee table with traditional tablecloth and prints', table from wood ply and decorative incision, traditional tablecloth with silk-screen prints with Greek/ Turkish coffee, various dimensions, 2015, London, England