-Photos of the paintings are by Kostas Evangelides-
Delina Vasiliadi was born in Greece. She started painting at an extremely young age -her mother is Lizetta Vasiliadi, a famous Greek painter- and was accepted through national exams at an Experimental Fine Arts School for Children. She participated at the tv-show “Young Painters” and became an intern at the studios of several important and well-known Greek painters.
Delina studied Economics, Finance and Accounting with a full scholarship at the University of Macedonia (Greece), and she was the Valedictorian of her graduation year. She studied Stage and Film Acting and Directing (Parathlasi Drama School, New York Film Academy) and took several classes, seminars and master classes about theater and film with Darden, Stone, Dafoe, Malcovic, Cuaron, Voulgaris, Strathairn, Cooper, Glover and others. She has performed on stage, directed experimental plays, hosted a series of short documentaries on Greece and acted in several video art projects and short films in Greece and abroad. The film “Theremin”, where Delina holds the lead role, was accepted at the Canes Film Festival, at the Short Film Corner. Delina has worked as an Assistant Director for the National Theatre of Northern Greece (NTNG) at the plays “The three musketeers” by Al. Dumas (father), the “Seagull” by Anton Chekov and “Our town” by Thornton Wilder, all directed by the NTNG Artistic Director (at the time), Giannis Vouros. Delina also was the Assistant Director at the rock opera “Alexander the Great” (NTNG).
In 2014 Delina directed at the Royal Theatre of NTNG the monolog “The Building” at the Contemporary Play-Writing Forum (organized by the NTNG in collaboration with the Hellenic Centre of the International Theatre Institute). Delina started working at the age of 18 at a Stock-exchange company where she held a management position, has been writing articles about the theater, theater critics and reviews for many years for weekly newspapers and blogs, has created a painting to accompany the fairytale “The miser” for the book “Storytellers and Painters”, has worked as an Artistic Director for art-exhibitions, designed theater programs and participated in several group painting exhibitions in Greece and abroad. In 2005 she was awarded the second prize at a national poetry competition held by the Arts and Letters Piraeus Society. Delina has exhibited solo in Greece and abroad many times. Delina’s artwork was included in art books and many of her paintings are now in several private and public collections in Europe and the U.S.A. In 2014 Delina was selected to exhibit her artwork under the Greek Presidency of the Council of the European Union in Luxembourg at the European Commission and later the same year her artwork was chosen again by the European Commission to be exhibited (solo painting exhibition) in Brussels. Delina most recently exhibited her work at the Lola Nikolaou Art Gallery in Thessaloniki.
Major Painting exhibitions:
2015 Thessaloniki, Greece, Lola Nikolaou Art Gallery, Action Reaction
2014 Brussels, Belgium, European Commission, Thesis-Antithesis II
2014 Luxembourg, Jean Monnet building, European Commission, Under the Greek Presidency of the Council of the European Union, Thesis-Antithesis, ODES
2008 Thessaloniki, Greece, Former Archaeological Museum, Sponsored by the Mayor, the Council and the Municipality of Thessaloniki, Reflections II
2007 Syros, Greece, National Gallery of Kyklades, Sponsored by the Mayor, the Council and the Municipality of Hermoupolis, Hermoupolia Art Festival 2007, Reflections
2007 Thessaloniki, Greece, Psychiatric Medical Center, Visions
2006 Athens, Greece, ARGO” Gallery ", Amphisimies
2005 Thessaloniki, Greece, Thessaloniki Architecture Center, Sponsored by the Mayor, the Council and the Municipality of Thessaloniki, Almost the other sight
Thessaloniki Yeni Mosque
Gallery Kykladon Siros
Gallery Argo Athens
Thessaloniki Center For Architecture
Delina’s work is inspired by Greece. The artist has spoken several times about her deep, unbreakable relation with her country, and also about her love for man and for nature. She has mentioned the bright summer Greek sun when it reflects on the blue sea, how deeply she is influenced by that, by the starry sky, the autumn rain…
Delina believes that every action has a reaction, all doings have consequences and that every thesis has its anti-thesis…
“I owe mostly my love and interest for painting and Art to my mother, Lizetta Vasiliadi, who is a painter. Watching her work in her studio, watching her use the brush, the canvas, the paint, the materials at her will… and I, right there by her side, learning, experimenting… is one of my very first and, I dare say, most loved memories…
I could safely say that I learnt to paint before I learnt to write. Since I was little, I learnt to use all the materials, oil, acrylic, temperas, plastic colors, several kinds of varnishes… But after years of personal research and experimentations I managed to create a technic of my own, where all the above mentioned materials are in some way combined together. The most important thing, though, is the way that the technic and of course the materials are transformed into life. And this is only accomplished if you dare put your own soul in the mixture. If you cancel your armor and completely let yourself be fully exposed. And free! Then and only then the color and the paste will stop just being “paint” and become life.
Color is one of the most important elements of/in my work. Through its language and endless abilities I am set free, I overcome my own boundaries and fly, swing in some way outside and beyond logic. In my artwork I also use another element. The “accident”. I use it consciously. I pursue it. I chase it. An accumulation, an amassment of these accidents is also a bit responsible for the results in my work. The paste, for instance, is so pliable that no one could ever possibly know in advance how it is going to act and behave. The paste has a dynamic of its own. Is this the accident? Maybe yes, maybe no. There is of course a process that helps you to keep from the accident only a part, what you need and want. What expresses you and at the same time expresses all that you want/need to say. The message.,
I’ve always tried and I am still trying to define myself. I wished for absolute freedom, no matter what that meant. I chose to express myself through Art, through painting. Its language becomes me. My artworks derive from the human soul. They are the reflection of the soul in the water, the clouds, the autumn leaves, the memory of times long gone… When people ask me what inspires me, what I think of when I work, I respond that whatever I see, whatever I feel, hear, all that I have done and have experienced, are my incentives. The sounds, the music, the images, nature, the sea, the surrounding world, the thoughts… all these are “mashed” inside me and a certain point they suddenly appear on my canvas. My themes come of anything that excites and moves me, of what I admire and consequently elates me, forces me, pushes me in a way to work even more, harder, more intensely.
I am not interested in the object itself, but in what it stands for. I am not interested in an accurate, with too many details depiction or portraiture of “the object”, but the inner truth. This is at least my goal, and my creative efforts are directed towards that direction. This is why, when I paint, I do not wish to approach the object creatively, but my target is to tame it, to explain it, interpret it, define it, to show the affect it had or still has on me. I am not interested in portraiture, in the description of an image that stands there before me. I have turned my interest and my attention towards to that: not approach the image! Invent it instead! This is what fascinates me. Very often, I have to admit, I have the urge to paint specific objects and images. But! Through a filter. The filter of subtraction, deduction and abstraction. The target is to completely avoid the portraiture and swing at the sphere of the absurd. The reason that I chose to use the absurd, the non-schematic, the non-figurative, the no-shape form in my work is because I believe that this is the only way for the image to be invigorated enormously. The image reaches such levels of power and truth, that, unfortunately, depiction/portraiture cannot touch. Besides, beauty, strength, power, truth, all of them exist beyond the surface. The object, a specific image, is completely transformed in my work, so that, in the end, its true nature may appear. The good, the bold, the pure. I seek for the truth; the truth of reality as it is mirrored inside me.
I am not afraid of ideas or the experimentation that art requires. The basis of creativity is denial, question and thought.
I am inside a labyrinth. I search and am searched. I don’t know where this will take me, but that’s what is fascinating. I explore my inner self, my soul. With every paintbrush I give a part of myself. Art forces me to the edge, it transforms me. Every moment. I try to improve myself through painting and become a better person. My goal is to express myself through my work, that I simply adore and without it I could not survive, I could not live. The painting’s language becomes me. I know that the path I have chosen (or has chosen me-I am not sure sometimes) is very difficult and tough, and requires full devotion. Even sacrifices. But for me there is no “sacrifice”. These difficulties excite me. I find them… charming in a way. I do what I want. I walk the labyrinth. I chose to do so, I chose to live that way. And even if we were to agree on the fact that I miss certain things, aspects of life maybe… I respond that what I do is fully conscious. I chose to live that way, in order to get and accomplish or do something better, something bigger, something I want even more, something that expresses me better. I do not know where this journey will take me, or where and when it will end for that matter, but for me the important thing is the quest itself. That’s what makes me happy. Truly, genuinely and deeply happy!
The artwork comes from work, hard work and harder work.
The more you work, the more ideas keep popping into your head, the more the need and the mood for creation grow. The intentions and the imaginary images are indeed of great value and play a very important role, but ultimately the possibilities and the power of the theme, the thought, the image become clear and appear only while one is working. The result exists only on the canvas. That is why the way that I work is unbreakably connected to the canvas and to what happens there. Thus, an extremely important element of my work is this strange sensation that exists in your soul while you work and strive to create… something… At that time, when you literally fight with the artwork –and yourself- you realize inside you, there where the doubt and the fear are, something…something else…a force… that takes you by the hand and leads you… and you are let to be dazzled… And then you are lead to decide what to keep, what to throw away immediately, in what way you are to move the paintbrush, how to lay out the color paste on the canvas. I do not know if that is what people call "inspiration". I have learnt to work hard, to fight with the paint, the canvas, the images, the objects, the thoughts, the ideas and finally make an effort to create something that expresses what I need/want to say, something that I actually like. I have learnt and I have chosen to be “a worker of the Art”. But I hope that no matter what this “inspiration” is, that everyone talks about, someday it will take me by the hand, and guide me and lead me somewhere far… somewhere else… beyond… I hope to tame this “inspiration” one day and manage to approach a little bit more what I feel and believe with all my heart and soul and mind exists, the deeper meaning. And finally to show this on my canvas. My philosophy: simplicity, honor, sensitivity, generosity, being afraid but keep going on, being honest with who you are, what you feel and what you need to say.
I wish for the viewer of my artwork to find something of his/her own in my images, so that the painting becomes the stimulus to make the viewer enter the process of thought and personal quest-soul searching, going back to the incidents of his/her own life and the experiences of his/her own reality. I do not wish to indicate to the audience what they “must” see, think or believe. This is the reason when many people ask me “what does this painting show and/or symbolize?” I hardly ever respond. I chose to be silent and let the viewer think for him/herself and decide, come to a conclusion on his/her own. But always, always, what is requested by me, what I seek, is that my artwork causes to the viewer emotions and feelings.”
The visible and the invisible of a painting
Through an expressionistic, gestural freedom of expression, the works of Delina Vasileiadi depict the sense of reality combined with that of memory. Her mosaic-like narrative determines the density of highs and lows, of a visual field which reveals the inner mechanism of the image’s different transformative potential every time. The strokes are left floating on air, embarking on a rthytmical whirlwind, and form shapes from oscillations, connecting the concrete with the abstraction and the familiar with the indeterminable.
Color shades emerging from the depth to the surface reinforce the design narrative, as they create the special style and tone of the painter’s every work. The audience imagination is smoothly drawn to converse with the visible and the invisible in a vibrating spiritual inland.
Space and light are part and parcel of the same image which is functionally formulated. Through its liquidity which constantly reconstructs itself, it presents the labyrinth-like relationships between structure and surface. These relationships interweave spontaneously without any brainy games. In the end, the gaze is left to wander and fumble for the floor of the unconscious, where the primitive quality in the combination of feelings springs naturally in a place still left unhampered by binding rationalisations.
Delina Vasileiadi’s painting follows paths which unsettle the typical definition of themes. Releaved from mainstream motifs and conventions, she gives room to ideas to exist by themselves, and the senses float on air through formulations of shapes, without any patronizing look. Her personal visual statements seek for new identities, equally enigmatic, searching for the unsolved mysteries of life.
Color in Delina Vasileiadi’s painting exists orgasmically, as her rhythmically vibrating visual gesture transmutes it into a catalyst of energy.
Brought to life by instinct, the painter’s every work is shaped autonomously in tierms of its synthesis, thanks to the cosmic-supernatural energy which penetrates it. And, indeed, at this point I refer to that energy which determines that spirit and material are but two different sides of the one and utmost truth.
In the overtone of this energy which identifies with the highest truth, Delina’s works breathe, move, vibrate, twist, transmute from the inside, activate in a non-stop fashion on the borderline between space and time, to define an athereal space in constant movement, ever-ready. A microcosm which reflects the macrocosm and captures and activates a plethora of situations, processes, reformations and transmutations in a supernatural-poetic rhythm in sense and feeling.
Primitive and at the same time diachronic, made of heavenly or earth colors, one can see caleidoscopically arrayed spirals, networks of successive springs, which constantly differentiate the composition giving it projection in space and at the same time depth, thus obeying to an innermost-poetic-supernatural rhythm.
It is this rhythm which in the case of Delina’s works, justifies Plato’s definition of art: That in order to be authentic, it has to express an Idea and not to be an imitation. Since the Ideal of utmost energy is the one mainly expressed in the painting compositions of this worthy creator, the strongly personal character of her visual narrative is verified. A spiritual narrative giving more than just visual experiences.
Translation: Penny Fylaktaki