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  • Eleni Kyriacou

RAIMENT OF THE SOUL, THE ACROPOLIS MUSEUM

I was very much impressed by this exhibition as it displayed a truly novel concept that I had not seen before. The series of works on display were creations of two artists working in collaboration who work in different media, thus their collaboration resulted in stunning mixed media works; one being a photographer, Vangelis Kyria and the other a textile artist, Anatoli Georgiev, the works were photographs printed onto canvas which enabled the textile artist to embroider selected elements.



From top to bottom, left to right ; Details from the costume of Ioannis Makriyannis, 19th c.

Details from the costume and sword of Vassos Mavrovouniotis, 19th c.

Costume from Psara Island, 19th c.

Costume from Skopelos Island, 19th c.




I have written many blogs before on traditional Greek dress based on exhibitions I have seen, Dora Stratou dances and so on, but never had I seen the subject matter of historic Greek attire approached in this manner. Original, historic garments were modelled and photographed. I am not sure how historically accurate all the gender assignments were regarding dress and model – but I liked that. If a male model was wearing attire historically worn by a female, then it was a play on androgyny which I found interesting.




From top to bottom, left to right ; Costume from Pyrgi, Chios Island, 18th c.

                                                    Costume from Limnos Island, 18th c.

                                                    Costume from Lefkada Island, 19th c.

                                                    Costume from Tilos Island, 19th c.

Costume from Kastelorizo Island, 18th c.







The photographs crisply displayed the historic dress and models with a glowing light and set them against a dark background in solemn poses. Together with the embroidered areas this automatically created focal points on the works, which was further accentuated through the manipulation of exhibition lighting, adding to an overall quality of solemnity and spirituality. Poses chosen referenced art history and added to the sense that the photographs were more like paintings or even sculpture.


Both the work of the photographer and textile artist were equally exquisite and the desired effect of realism where the historic garments appear to almost be breathed to life by magic was achieved.





From top to bottom, left to right ; Costume from Baltsa, Macedonia, 19th c.

                                                    Costume from Corinthia, Peloponnese 19th c.

                                                    Costume of Sarakatsana from Epirus, 19th c.

                                                    Costume once belonging to Ioannis Gennadios, 19th c.

                                                    Costume of Theodoros Grivas 1821 chieftain, 19th c.




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