Essay about méta by Evita Tsokanta
Written for the initial exhibition of méta in Athens in November 2021
The adjective and occasionally noun, Meta originates in the Greek prefix meta- which
translates as something that comes after, or something that comes along with. In English,
the word has attained a more abstract meaning through various uses, meaning something
more comprehensive or even transcending beyond limits. Finally, in epistemological terms,
meta suggests something self-referential, as if something is describing its own
characteristics. The exhibition méta by Kanella and Manos Chatzikonstantis encompasses all
its potential uses as if one negates the other but also through this negation, reinforces its
alternative meaning.
The process of creating these works involves a succession of events, individuals, and creative
decisions in the most apparent way, as a relay race. It all started when Kanella, having been
granted the luxury of time due to the first Covid-19 induced lockdown, studied her
surroundings in unprecedented detail. She was surprised to observe that despite that
springtime phase of rebirth, her houseplants were not sprouting new leaves, but instead
shedding their existing ones. The symbolic attributes of a leaf are as ever-changing as the
transient object itself. They are always dependent on the state the leaf occupies at any given
moment. A green leaf symbolizes hope and growth, a brown one triggers the sense of decay
while finally, a golden one awakens the notion of renewal. As an emblem, it covers an entire
life cycle and even suggests its transcendence. The rare occurrence that Kanella witnessed is
what triggered her to collect the leaves and begin to mark this anomaly by passing her
needle and thread through them. It was an instance of decay transmuting into something
else, something beyond what the leaves were at that given moment.
Embroidery has long been a part of Kanella’s visual vocabulary. The handcraft value of
embroidery has been burdened with past notions of what was possible or even permitted
for a female. Traditionally categorized as an applied art, considered distinct from the high
arts genre, embroidery has been associated with the craft that was most fitting for a woman.
Kanella appropriates this technique as a reclaim of the narrative of what the woman is
capable of, while repurposing it in a way that renders the high and applied art divide,
redundant. For Kanella embroidery is relative to a meditative pursuit, one that can lead to a
transcending state. It is an act that allows the mind to wander and simultaneously stay
present. Very similar to gazing at the sea, embroidery makes us consciously aware that while
everything changes around us, there is always the power of the centered self that ultimately
drives our thoughts and actions and grounds us to the current moment.
Manos came across Kanella’s Instagram posts of the embroidered leaves and was fascinated
by the transmutation of a decaying object into an entirely different entity that takes on a
new life, one that is celebrated through decoration. This fueled his own pre-existing
experimental searches in the studio. The relay race continued in his hands. Manos began to
observe the potential of what can occur out of what was considered terminal. Typical to his
practice, Manos is bemused by the notion of memory and even more so with the unspoken
memory. Like a detective, he zooms his camera in search of the untold stories that reveal
the most intimate aspects of a person, a place or even an object. Almost like looking through
a keyhole, he attempts to decipher the stories that haven’t necessarily been shared,
enriching his images with a layer beyond what is visible. The implied is where the essence
lies. These hidden stories are in fact what lives on after someone or something has expired. In
past bodies of work, Manos has been preoccupied with the issue of commemoration. How
are the deceased visually represented to awaken their memory? As Susan Sontag declares,
all photographs are a memento mori. “To take a photograph is to participate in another
person’s (or thing’s) mortality”. Manos shot the leaves in various stages of their decay,
visualizing their perpetual cycle of motion and ever-evolving image. Adding a vignette effect
to these pictures, Manos references postmortem photography of the past inviting the
viewer to ponder on a transpired life journey and to imagine what might come after, beyond
the visual.
The collaboration of the two creators, a unique way of co-production, which presupposes a
rare amount of trust and freedom, is the core of méta. Kanella and Manos didn’t work
simultaneously, brainstorming and co-creating this project. Each continued their solo
practice but built on top of the other creator’s practice. In fact, it is Kanella’s initial
inspiration and subsequent artwork that acted as Manos’ trigger to develop her initial
concept with his own tools. In the process, their artistic practices have respectively evolved
and moved beyond their predecessors through exchange with one another. This exhibition is
the outcome of an ongoing dialogue on inspiration, intention and practice, that ultimately led to
the common final work. The transition from personal to collective is mirrored in the move
from embroidery to photograph allowing the life cycle of the leaf to extend indefinitely
through the gaze of the viewer.
Evita Tsokanta
Art historian, Independent curator