In her recent works, Rania Schoretsaniti deals with the viewers’ perception and objective sight. The artist creates complex geometrical conglomerations using only one shape: the trapezoid, a codified allusion to John Climacus’ ladder. Multiple such units, in different sizes and perspectives, are placed next to each other, constituting a rhythmic dance whole.
The new monochromatic compositions on paper –made with egg tempera that she meticulously prepares– reveal the hidden structure while suggesting the production process of the rest of her works.
In her high reliefs, which frequently develop like friezes on the wall, the artist hides the structural units, covering them entirely with fabric, usually in red or black. Alternatively, she leaves certain parts unwrapped, demonstrating part of the substructure, and allowing the white wall to show through. With one’s movement in space, the three-dimensional trapezoids are transmuted into new shapes; depending on the viewer’s angle, they merge and separate, and the compact masses are transformed into open forms and vice versa.
These unique constructions evolve into sculptures in the round, occupying real space. With the multiplication of the points of view, the illusion is intensified and the game between presence-absence, and full-void has culminated. The artist turns visitors into active recipients by optimizing their conceptual vision.
The works recount abstract, cryptographic, experiential stories. The titles actuate the mind: “Punishment”, “Subordination”, “Prayer”, “Angel”, and “Life”.
Through the poetry and spirituality of geometry, Schoretsaniti talks about human transcendence and the purification of the soul, composing, at the same time, a hymn to the feast of life.
Art Historian, curator