Η Γλύπτρια Μάρω Μπαρτζίλη

Τους καλλιτέχνες που θεωρώ ότι είναι αξιόλογοι, είναι οι περισσότεροι στη σκιά, όχι στην προβολή, όχι στο προσκήνιο – η Μάρω Μπαρτζίλη είναι από αυτούς. Στην σκιά λοιπόν με ρυθμούς ελληνικούς, παλαιούς, βλέπε Μουσείο Λευκωσίας, Μουσείο Βόλου.

Χωρίς στόμφους η Μπαρτζίλη αντιμετώπισε τις τρεις περιόδους της Γλυπτικής εξέλιξής της. Άξονας και ρυθμιστής το Σχέδιο. Έχω ένα φάκελο με αντιπροσωπευτικά της έργα. Παρατηρώ τα έργα της και σκέφτομαι αυτό που γράφω.

Επειδή έχω εργασθεί χωρίς πλάνο στην προσπάθειά μου διακρίνω στην Γλύπτρια μεθόδους ή επιμονές που έκανα και εγώ. Γι αυτό συγκινήθηκα και γι αυτό. Επειδή πολλοί καλλιτέχνες επιδιώκουν σε μια άποψη από την αρχή και την ακολουθούν – όπως κατάλαβα πιστεύει κι εκείνη ότι η άποψη δημιουργείται από την δουλειά και καταλήγει στο τέλος. Βλέπε Μιρό, Μάλεβιτς, Καντίνσκυ… Ο Βαν Γκόγκ είχε πει ότι η ζωγραφική είναι ένας αόρατος σιδερένιος τοίχος. Δεν μπορούμε να τον υπερβούμε. Πρέπει με τη λίμα να τον αντιμετωπίσωμε με πολλή δουλειά, με τον άγιο μόχθο που είχε πει ο Πικιώνης. Ο Μπράκ μίλαγε για τους μεροκαματιάρηδες του νου.

 

Έχω λοιπόν τον φάκελο, αξιολογώ σαν συνάδελφος αναμένοντας όταν θα δω αυτά τα έργα τα ίδια, όπως είδα στο εργαστήριο της Γλύπτριας την τελευταία φάση του έργου για τη Λευκωσία στο οποίο κατέληξε με φυσικό και αβίαστο τρόπο. Τότε είπα μέσα μου. Οι σπουδαστές των Σχολών Καλών Τεχνών και τη Αρχιτεκτονικής να πηγαίνουν να σχεδιάζουν εκεί. Έχει υπόβαθρο σχεδιαστικό το έργο στο Πάρκο του Προεδρικού.

 

Τα έργα της είναι έργα από τον βυθό όχι από την επιφάνεια. Είναι έργα πανελλήνια κοντά στον Ευριπίδη, όχι κοντά στον εξπρεσιονισμό. Είναι γεωμετρικά έργα ζυγισμένα με ζυγαριά φαρμακείου. Την ίδια χαρά έχω βλέποντας ένα μπούστο με ένα βάρος-φορτίο στον  ώμο με μεγάλη πλαστική δύναμη στο πρόσωπο, στα χείλη, στο στήθος με το υπέροχο φορτίο στον ώμο.

 

Ύστερα, πολλά σχέδια με ελληνικά υπερρεαλιστικά στοιχεία – στην Ακρόπολη υπάρχει σουρεαλισμός. Σε επιφυλλίδες παλιά στο «Βήμα» διάβασα για την κινέζικη ζωγραφική από τον Χ. Γκίκα. Έλεγε ότι μια κουκίδα μελάνι στην κινέζικη ζωγραφική είναι σαν βράχος που πέφτει από το βουνό. Το μαύρο μελάνι της Μπαρτζίλη είναι χρώμα με κύτταρο όπως στα σχέδια του Ρέμπραντ και όχι όπως στους γελοιογράφους που είναι γραφή στα ρηχά, σαν σύρμα.

 

Στην καινούργια δουλειά που επιγράφεται στον φάκελο έτσι, είναι σύγχρονη έρευνα, αναζήτηση, περικύκλωση, για να γεννηθεί καινούργιος στόχος πιο πέρα ακόμη. Πολλές φιγούρες ελληνικές – κυπριακές σαν το σώμα της γλύπτριας, ποιητικό και στοχαστικό, με αγωνία του ταν ή επί τάς για καινούργιες λύσεις, ακόμη πιο ωραίες, με ευθύνη, όπως οι στρατιώτες που πάνε για επικίνδυνες αποστολές. Η φυσική ζωή της Μάρως Μπαρτζίλη είναι περασμένη και στην κόρη της με τον ίδιο ρυθμό όπως και στα έργα της. Και μια παράλληλη θωράκιση στη Μόρφωση.

 

Στις συνθέσεις εσωτερικών χώρων εμφανίζεται μια σφαίρα σε μέγεθος μπάλας, σαν στοιχείο αντισεισμικό για τη σύνθεση. Επίσης, σ’ αυτές τις συνθέσεις πρόσωπα με δυνατό σχέδιο που εξισώνει την παραστατική με την αφηρημένη τέχνη.

 

Μια ακόμη ομάδα σχεδίων στο τέλος του φακέλου είναι η Γλύπτρια όλη μαζί. Σχέδια με χρώμα, ποιητικά έργα, σημαντικά, πολλά. Το σχέδιο με το αραιωμένο κόκκινο χρώμα κλείνει τον κύκλο από το πρώτο κεφάλι στα έργα του φακέλου, έργο πλήρες στη  μορφή και το περιεχόμενο, είναι στοιχεία της ωριμότητας της Γλύπτριας. Μια δημιουργός, χρησιμοποιώ την έκφραση εδώ, έτοιμη να παραμερίσει εμπόδια και να βγάλει ακόμα καλλίτερα έργα, ωραία έργα στην ωριμότητά της.

 

 

Γιώργος Μήλιος

Zωγράφος-Χαράκτης

Ομότιμος καθηγητής ΑΣΚΤ

 

 

 

 

 

 

 

The Sculptor Maro Bargilli

Most of the artists I consider remarkable, are in the shadows, unrevealed, in the background – Maro Bargilli is one of them. In shadow then, the sculptor works in a rhythm that is Greek and long-standing, as shown in the works displayed in the archaeological museums of Nicosia and of Volos.

 

Bargilli encountered the three periods of her sculptural practice without pomposity. Drawing has been her axis and guide. As I write, I observe Bargilli's portfolio of representative works.In this piece of writing I have no specific strategy; in this way I discern methods or intentions of the sculptor that I am also concerned with. This is why I was moved by her work: because many artists are pursuing a standpoint from the beginning of their creative process, which they follow until the end – as I understood,  Bargilli believes that such standpoint is created by the work itself and develops until the very end. See Miro, Malevich, Kandinsky… Van Gogh had said that painting is an invisible wall made from iron – we cannot surpass it – we have to encounter it with a rasp and a lot of work, with the ‘holy toil’ as architect Pikionis had mentioned.Braques spoke of the ‘labourer of the mind’.

 

Having this portfolio, I am evaluating as a peer, anticipating the moment when I will see the works themselves, as I saw the final stage of the work for the Park of the Presidential Palace in Nicosia in the studio of the sculptor. She arrived at this work in a natural and unconstrained manner. Then I thought: Students of Schools of Fine Arts and Architecture should go there to draw. The work in the Presidential has a strong drawing element.

 

Her works are of depth, not superficial. They have a Greek character close to Euripides, and at distance from expressionism. They are geometric works weighted with precision. I get the same satisfaction when seeing a bust with a load on the shoulder with intense plasticity in the face, the lips, the chest with the wonderful load.

 

Many drawings contain Greek hyper-realistic elements – in the Acropolis there is surrealism. In Chinese painting serials published in ‘Vima’ newspaper, painterHadjikyriakos-Ghikas mentioned that a dot of ink in Chinese painting is like a rock falling off a mountain.Bargilli’s black ink is colour with a cell-like texture as in Rembrandt’s drawings and not as in caricature works whose style is shallow and wire-like. 

 

As it is written in the portfolio, the new works are concerned with a contemporary investigation, a search for a new objective to be pursued even further. Many Greek-Cypriot figures, poetic and stochastic, like the body of the sculptor, express the agony to find new solutions, even more beautiful and responsible, like soldiers who undertake dangerous missions. The way of life of MaroBargilli is passed over to her daughter as to her works and acts as a parallel armour in culture.

 

In compositions of interior spaces, a sphere the size of a ball appears as an element of balance in the composition. Also, in these compositions, images of human heads that have drawing at their core, equate figurative and abstract art.

 

At the close of the portfolio, another series of drawings represents the sculptor in her entirety. Drawings with colour, poetic works, and many of high importance. The drawing depicting   a fading red colour is a work complete in form and content, both aspects proving the artistic maturity of the sculptor. Bargilli is a creator, I am using this expression here, who is ready to overcome obstacles and produce even better works, beautiful works in her maturity.

 

George Milios

Painter-Printmaker

Emeritus Professor, Athens School of Fine Arts

Ο εικαστικός λόγος της Μάρως Μπαρτζίλη δομείται μέσα από γεωμετρικές σχηματοποιήσεις, προσφέροντας στο θεατή τη δυνατότητα  να βλέπει το εικαστικό αντικείμενο μέσα από διάφορες οπτικές γωνίες.  Φως και σκιά, κίνηση και ακινησία, θεατό και αθέατο, συμπλέκονται και συναιρούνται σε μια αδιάσπαστη ενότητα.

 

 Η αίσθηση της θέασης ενός γλυπτού σκόπιμα νιώθεις ότι δεν είναι ποτέ ολοκληρωμένη για να μπορείς να πραγματοποιήσεις το δικό σου νοερό ταξίδι στο χώρο και στο χρόνο.

 

Η μια σκιά οδηγεί στην άλλη, μια γραμμή είναι μια υπόμνηση, μια καμπύλη είναι μια παραμυθία ούτως ώστε τα σχήματα των έργων της δεν είναι ποτέ στατικά.

 

Μέσα από τις γλυπτικές συνθέσεις αναδεικνύονται οι όγκοι ανάγλυφοι μέσα από το σκιόφως που αποκτά δραματικότητα. Μέσα από τα έργα της αποπνέει η κίνηση των χεριών της που ταυτίζεται με το ρυθμό της ύλης μέσα στο φως.  Με τον τρόπο αυτό δημιουργείται μια ρυθμοποιία που συνδέει τα μέρη σε ένα όλον αποκαλύπτοντας μια εσωτερική αρμονία.

 

Με αφετηρία τη φαντασία, το σχήμα στα έργα της αποκτά μια ευκρασία και απλώνεται σε πολλαπλές διακυμάνσεις ούτως ώστε κάθε έργο μάς ξαναφέρνει στη θέση εκείνου που το πρωτοανακαλύπτει.   Η αβίαστη εξωτερίκευση του υποσυνείδητου, μέσα από εικόνες και σχήματα που αιφνιδιάζουν, δημιουργούν μια ποιητική του χωρό-χρόνου εγείροντας ερωτήματα για την ζωή και την τέχνη, χωρίς απαντήσεις.

 

Και ακριβώς εδώ έγκειται η όλη γοητεία.

 

Δρ Νάντια Στυλιανού

Μορφωτική Σύμβουλος

 

The visual language of Maro Bargilli is structured through geometrical formations, offering the spectator different visual angles of her work. Light and shadow, gestures or tranquility are engaged and contracted in a lasting cohesion.

 

The sense one perceives is intentionally never completed, so to visualize it in space and time. A shadow gives way to another shadow, a line drops a hint, a solace curve, so that the forms of her sculptures are never static.

 

Through her sculptural compositions emerge the sharp reliefs of the volumes who acquire by the changing light, a dramatic character. One can assume her gestures identifying the rythm of materiality into light. In this manner, different parts are transformed into a whole, revealing an internal harmony.

 

With starting point her imagination, her works mildly shaped unfold into multiple fluctuations, so that every sculpture recalls the first time seen. The unconstrained expression of the subconscious through astonishing images and shapes create a poetical time-scapes evoking unanswerable questions on art and life.

 

And this is precisely what is fascinating in her work.

 

  

Dr Nadia Stylianou

Cultural Counsellor

I AVGHI Newspaper

December 5, 2018   p.26

 

FUTURING THE PAST

An exhibition by Maro Bargilli

 

The life of a displaced person becomes metaphysical and the loss painful

 

The works presented at the House of Cyprus in Athens are shaped by her personal memory of the city of  Famagusta. Sculptures in plaster, resin, aluminium, lead and bronze but also many drawings.

 

She mentions: “Famagusta Regina” and “Drawings” are placed at the two ends

of the exhibition creating a spectrum which recalls my early memories in fragments.

The scenic presence of the residents in front of the abandoned city and its sounds, suggests the past and revokes the future. “Famagusta Regina” constitutes a model for my personal and artistic expression, which resulted in the monumental sculpture at the Park of the Presidential Palace in Nicosia. The compositions placed in- between the two ends, even though they seem to function as separate units, they belong to a whole that refer constantly to the city. The “24hour Landscape” expresses the looped nature of memory and interprets the sunrises and the sunsets of the city”.

 

The sculptor, with studies at Charles IV University in Prague, the University of Aix-en-Provence and the Athens School of Fine Arts, has realized important memorials and won prizes in Greece and Cyprus. Recently she won a prize and realized a Memorial at the Park of the Presidential Palace in Nicosia, Cyprus.

 

She says: “The works presented in this exhibition are shaped by my personal memory of the beauty of the city of Famagusta, but also the sadness of the tragic historical events. The life of the displaced becomes metaphysical and the loss painful.”

 

And on art: “Art is interwoven with ethos, intellectual and artistic ability of high order. Art is the poetic of life. An artist must possess the means to remould and imprint all this into art. To discover an authentic thesis one must apply the know-how of centuries and at the same time undertake innovations.”

 

The exhibition will be opened until January 17, 2019, Mondays and Wednesdays 10.00-18.00 - Tuesdays, Thursdays and Fridays 10.00-15.00, House of Cyprus,

2A Xenofontos street, Athens.

I EPOCHI Newspaper,

December 2, 2018, p.25

 

An interview by Sophia Xigkaki, with the Cypriot sculptress Maro Bargilli, on the occasion of her exhibition FUTURING THE PAST .

 

WORKS OF DEPTH

 

Born in Cyprus, with studies at the Athens School of fine Arts, France and Czechoslovakia, Maro Bargilli presents 38 works which are, as she mentions, shaped by her personal memories as a displaced person, the memory of the beauty of the city of Famagusta, but also the sadness of the tragic historical events that scarred the town. “She arrived at this work in a natural and unconstrained manner, works of depth, not superficial” writes for the catalogue of the exhibition the painter-printmaker George Milios.

 

  • The sculptor Natalia Mela, during an interview some years ago, said that there were natural reasons that very few women became sculptors.

 

  •  Yes, of course sculpture can be hard work, needs physical effort. A sculptor needs a well organised studio, materials, sculpture is a demanding art. The immensity of the three dimensions. But today, technology facilitates the technical part.

 

  • Who among sculptors had an impact on your work?

 

  • I would say that mostly the natural and historical environment of Ancient Salamis and Engomi, the Archaeological Museum of Famagusta, coloured my artistic and existential anxieties. As Costas Axelos speaks of, “we grew up among the demolished temples and the mutilated statues ...”   This is very representative of my personal memory. Τhen very young, when travelling, I was not conscious of the contemporary in art, of modern art, I was for a reason classifying art in historical times. Visiting many museums, there were works of art that strongly impressed me and put questions that I could not look into them at the time. I had a strong familiarity with the Arts, I knew that I somehow belonged there, but the step forward was to be done years later, when I met contemporary artists actually exercising their art. Among them the sculptor Thimios Panourgias with whom we coexisted for many years.

 

  • You have accomplished several memorials in public spaces. What does it mean for you?

 

  • Sculpture is monumental as art. I find interesting that a memorial emits another notion of time. Though I believe, that history is not written with dates of events and battles, but with each individual human life... And it has to do with everything each one of us observes, the images that composed our lives. These are to determine our thinking.

 

  • You were born in Famagusta, Cyprus.

 

  • When I was born in 1950, Cyprus was under British colonial government. A childhood agitated by a constant feeling of fear and anxiety. The historic events of the coming years that led up to the turkish invasion in 1974, were strongly traumatic and had tragic consequences on our life. I am well aware now that all these years it was necessary to put off confronting the situation, in order to keep going – it was and still is a heavy load to live with. The dedication to my town, the city of Famagusta refers to my personal memory. I had to reach maturity to express these experiences through my work. The work “Famagusta Regina” is named after the title of a book of our distinguished poet Kyriacos Charalampides, whose work inspired and led me during the years. When I was at this work, I was engaged on my artistic pursuits. Through this process I came to this composition which constitutes a mode for my personal and artistic expression and which resulted in the monumental sculpture at the Park of the Presidential Palace in Nicosia.

 

  • Were you taken aback?

 

  • Yes! I worked on this project for about 10 years realising at the same period two monumental sculptures. The sound of “Famagusta Regina” is composed by my daughter Eleni Ira Panourgia who is very sensitive on the Cyprus question. A sound that refers to the abandoned city, the sea, the war ...

 

  • One gets a strong sensation of war also by the materials you use, aluminium, plaster etc., but mainly viewing your figures, incomplete in a way, faces without features.

 

  • Famagusta is a town which was not occupied, but remains through the years a ghost town, her inhabitants chased away, most buildings collapsed. These are poignant memories, I am gratified that I was finally able to produce this work.

 

  • At the exhibition we see an enlarged photo which represents an aspect of the abandoned city, in front of which you present figures of the imaginary inhabitants.

 

  • When I first saw this picture, published in 2002, I was shocked. It shows the main road that leads to the sea. Behind the cinema, we catch eye of the Municipal Library and there nearby my father’s office. Up the road, the archaeological museum and our house. The scenic presence of the residents in front of the abandoned city and its sounds, suggests the past and revokes the future. “Futuring the Past”... What I attempt is not to represent but to examine the essence. I presume that one needs to observe things from a distance. Years ago I read Marguerite Yourcenar’s  “Memoires d’ Hadrien” where she mentions that only when she reached maturity and an age gap far bigger from Hadrian himself, she then could undertake and complete it.

 

  • There is the “24hour Landscape” with homage to Le Corbusier. A very different work, coloured, with light materials, carton, canvas ... How do you place it among the other sculptures?

 

  • I was already experimenting with this landscape when a published drawing by Le Corbusier caught my attention. With the same curves on a landscape imprinting the length of a day. It was more than a coincidence! This is why the homage. As a conception, this “24hour Landscape” is relevant to the other works. It has common elements i.e. the curves or the spheres. The use of different materials and the colour lend a new way in composing and tracing my personal way. The result has a different aesthetic view, a more abstract and geometrical result, that expresses the looped nature of memory and interprets the sunrises and sunsets of the city.

EPOHI   NEWSPAPER

22 October 2000

Liana Malandrenioti

 

SCULPTURES AND DRAWINGS BY MARO BARGILLI

 

We have visited her studio up on a hill where Maro Bargilli with feminine hands struggles to discipline various materials and succeeds to give form to her anxieties, contemplations and emotions. Under the attic light she sculpts her forms with simplicity.

 

Her course began in Prague in 1968. Deeply affected by the extreme political scene she interrupted her studies and continued in Aix-en-Provence and the Sorbonne, in France.  In 1975-76, after the political change in Greece, she worked for “The Greek Month in London”, an exhibition which brought her in touch with contemporary greek artistic events. Soon one realizes why she found herself at the Athens School of Fine Arts.

 

Today, after several distinctions in Greece and Cyprus, she realizes her first one-person exhibition in Kontoglou Hall at the Municipal Cultural Center in Athens from 24 October to 10 November 2000.  As she says: “The works exhibited are from various periods. …. They are remouldings  of all that surrounds and moves me in my everyday life. The changing light on the landscape, the silhouettes of trees …. The hills, the clouds, the evening skies, the microcosm. This beautiful world that surrounds us, forms part of the atmosphere which envelops my creativity and inspiration”.

KYPRIA  MAGAZINE

Vol. 142,  February 2009

Mara Karayianni

 

MARO BARGILLI

Lives and creates in Greece with her thoughts in Cyprus

 

Recently, the House of Cyprus in Athens presented the new work of Maro Bargilli.

The artist lives and works in Greece for many years now. Maro Bargilli was born in Famagusta, the third child of Elengo and Anthony Bargilli. Has studied in Charles University, Prague, Aix-en Provence and the Sorbonne in France.  She studied Sculpture and Book Design at the Athens School of Fine Arts and had won a State Scholarship for further research in different materials.

 

She won also prizes in sculpture competitions and she has realized two large scale monumental compositions in Derynia and Nicosia, Cyprus.

She participated in several group exhibitions in Cyprus, Greece and France and she had three one-person exhibitions in Athens and Nicosia.

 

About her actual exhibition at the House of Cyprus in Athens,  she mentions: “The described and the descriptive in my sculptural compositions are elements borrowed from tangible reality and the natural environment. A ray of light, a gesture, a shape, the human presence, a landscape … are generative in the sculptural expression and creativity I attempt. ……”

EPOHI  NEWSPAPER  CULTURE                         

25 January  2009, Liana Malandrenioti

 

P O E T R Y   I N    B R O N Z E

 

Maro’s Bargilli recent exhibition of sculpture and drawings at the House of Cyprus shows her dynamic and progressive place in a particularly rough domain as sculpture, where the artist must not only face projects but also has  rough materials to discipline. The sculptural compositions of Maro Bargilli express ideas, concepts and emotions inspired from tangible reality and nature. In the whole, they have a particular aesthetic mode and a poetic dimension.

 

The sculptress won distinctions and prizes in sculptural competitions in Greece and Cyprus where she realized two large scale monuments in Derynia and Nicosia.

I was happy to visit her exhibition and have a conversation with her:

 

Q.

It’s been quite some time since your last exhibition. Is this due to the objective difficulties a sculptor faces to create and present his work?

 

A.

It is very difficult for a sculptor to exhibit one’s work regularly. It is not only a matter of inspiration and realization of a project. It needs not only time but also financial possibilities. On the other hand, sculpture is a very complex process, thinking only of the endless three dimensional profiles !! One needs courage and strength physically and spiritually. Of course it is a very important experience for an artist to present his work.

 

Q.

Do you have a preference to a material?

 

A.

Every material offers different potentials. Among hard materials I prefer wood, then wax, plaster and clay which lead you to the foundry with a tremendous cost.

 

Q.

Do we have “schools” of sculpture in Greece?

 

A.

There have to be convulsions and originality. Imitation is not productive. We do have in Greece original artists, but it is not necessarily them who are “well known”. Unfortunately the commercialization of the Arts and the established situation in Greece and elsewhere don’t enable young artists to emerge and flourish in a new reality.

 

Q.

Do you follow a particular “trend”?

 

A.

No, I don’t. I try to follow serious artistic values. A work of art must speak loud and concentrate all those elements an artist recalls while creating.

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