In her large size compositions in acrylic and carbon, Antigoni Kavvatha stages and presents pictures of a dangling world. By means of strong and evocative imprints of her themes, as well as of the expressive intensity and the qualities of the black and white, she adopts a different version of observation, rendering and interpretation focusing on what is hidden below the surface, which thus acquires its own apology and life.
Each painting, worked on the surface of paper or mylar, is imbued with the prominent meaning she ascribes to it, as well as with the way she structures and elaborates it. It is the result of a systematic study and experimentation, persistent exertion, sharp observation, structured processing, amounting to an integrated and documented research, to a progress of possibilities and problematics, highlighting all along the crucial and essential relationship of the creator with the contemporary reality.
Through the labyrinthine formation of trees and plants, the routs in the territory of the unexplored regions of the psyche, Antigoni deals with compositions that demand a wider comment and problematic for the traps and divisions of existence and life, and at the same time touches on controversial matters, that refer to a fragmented and violent world, continuously changing, a world bereft of its principles, ideologies and points of reference. The human form entrapped in a dense lattice, the forest of tents from different refugee camps, the figures which gaze future with anxiety and awe, the procession of immigrating populations through history, sculls combined with religious symbols or military planes, the landscape of the oil fields, recount stories of personal and collective experiences, stories that touch upon contemporary political and social problems and raise a broader concern.
The mise en scène and the processing of her works contribute decisively to the final picture, endowing it with immediacy and truth, suggestion and expressive power.