Born in 1967 in Athens, she studied painting under professor Stoyan Donev of the Sofia School of Fine Arts (1990-1994). In 1994 she enrolled at the Athens School of Fine Arts. She graduated in 1999.

 

Solo Exhibitions

  • 2008 Eikastikes Anazitisis
  • 2006 ArTower Agora
  • 2002 ArTower Agora

 

Group Exhibitions

  • 2014 Eikastikes Anazitisis, Athens
  • 2013 Eikastikes Anazitisis, Athens
  • 2013 Cultural Center ‘Melina Merkouri’, Athens
  • 2012 IANOS, Athens
  • 2010 Ermoupolia, Syros
  • 2010 Cultural Center ‘Melina Merkouri’, Athens
  • 2009 Eikastikes Anazitisis, Athens
  • 2009 feminal 09, Pro-art
  • 2006 Danubius, London
  • 2002 Technopolis of Athens

Bother 2004

Fotaki’s Bother is a rather complicated painting. It uses for background the consecutive repetition of a woodcut by Fotaki which presents a seated figure.

Despite being used for aesthetic reasons, the repetition suggests that things in life go through circles. The basic concept is the juxtaposition of an old woman and a young girl.
The old woman that Bother presents appears often in Fotaki’s art. The artist finds her to be endowed with a strange kind of hardness, which is as much internal as external. The grains of the woodcut in the background accentuate the impression of lines on her aged face.

As opposed to the old woman the body of the young girl has velvety skin. The rigidity of the old woman juxtaposed with the flexibility of the body of the young girl. The choice of color for the rendering of the old woman and black-and-white for the young girl accentuates the difference between the two figures. The girl is in its adolescence and is a virgin, just before finding out what awaits her or what is happen to her.

The face of the old woman is repeated at the right side of the painting, this time in profile and camouflaged by the background. Fotaki uses the effect of camouflage to suggest the feeling that the old woman is a ghost who may not exist but is physically there. This effect insinuates that the young girl proceeds towards aging, and reminds those who behold the image of the ghost that inevitably all of as evolve towards our own ‘vanishing’.

Fotaki’s Bother has a lot to do with the position of woman in society. The element of society’s ‘racism’ for the third age is prominent. Bother criticizes the way society behaves towards third age, the neglect of people when they age. The painting disapproves of a reality in which freedom is only virtual, while claiming that old women have the right to decent life. Bother presents the negation of decency as a distortion, of holding on to a desire and shuffling it. The painting represents distortion by the displacement of its constituent elements. The hands get hold of the body, to express the condition of distortion. The artist confesses that “the aim of Bother is to make the beholder feel uncomfortable”.

 

Megakles Rogakos 
 2/2006

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