Library

  • Greek goddess of Australia: Polixeni Papapetrou

    Jean Paul Gavard Perret, Ragazine, Vol. 12 No. 4

    Ten years ago Polixeni Papapetrou was a victim of a stupid controversy in her country. The pretext was that she photographed her daughter (six-years-old) nude. It was to understand nothing that Polixeni Papapetrou explores. Mainly the theme of the transformation and processing from childhood to adolescence, from adulthood to old age. Her experience of the disease made her even more susceptible to the fragility of the life. The beauty remains the essence of her women’s vision. The creator fights for the freedom of the women and of her own work. The Australian knows how to create a very particular “romanticism”. In the lyric which dissipates the intelligence she prefers the latter while remaining capable of offering feelings. They allow her to take the plunge of past in the present and towards the future, which the work announces subtly within its particular ceremonial.

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  • Polixeni Papapetrou photographs youth, beauty and blooms

    Ella Rubeli, Sydney Morning Herald, 19 August 2016

    Artist Polixeni Papapetrou likens human mortality to the life cycle of flowers: subject to seasons of growth, blossoming, and – inevitably – wilting. Her latest series is so dazzling in beauty and colour that you can sense its imminent ruin. Young women, almost suffocated by garlands of flowers in their "garden of Eden" are suspended in a moment of youth.

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  • Déesse grecque d’Australie : entretien avec Polixeni Papapetrou

    Jean Paul Gavard Perret, Lelitteraire, 21 July 2016

    Il y a une dizaine d’années, Polixeni Papa­pe­trou a été vic­time d’une stu­pide contro­verse dans son pays. Le pré­texte en était qu’elle pho­to­gra­phiait sa fille (à l’époque âgée de six ans) nue. C’était ne rien com­prendre à ce que Polixeni Papa­pe­trou explore. Prin­ci­pa­le­ment, le thème de la trans­for­ma­tion de l’enfance à l’adolescence, de l’âge adulte à la vieillesse.

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  • Time after Time

    Christopher Allen, The Weekend Australian, 25 June 2016, pp.10-11

    Gregg’s juxtapositions are primarily intuitive, that is, based on an aesthetic and imaginative response to the images rather than trying, as is so often the case, to force any interpretative straitjacket on to them. Thus Pieter Brueghel’s etching of an Alpine landscape (c. 1555-56) is paired with Polixeni Papapetrou’s whimsical yet poignant photograph of a figure, high on a mountaintop, with a deer’s head. This is perhaps the riskiest pairing in the show, because the highly saturated photograph is so foreign to the linear etching, but the thematic affinity seems to make it just plausible.

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  • The Elvis cult: photographs of the star’s enduring fans

    Ella Rubeli, The Age, Melbourne, 11 March 2016

    Each year on August 16, a throng of faithful mourners gather in Melbourne cemetery to commemorate the death of their idol: Elvis Presley. They are dressed in leather jackets, some with their hair greased back, most with large bunches of flowers, striking sultry poses in worship of the American star. It was 1985 when photographer Polixeni Papapetrou first encountered this annual ritual and was drawn to document the near-religious-scale cult.

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  • Empty Kingdom

    Empty Kingdom, USA, December 2015

    I was born in Melbourne, Australia, to Greek immigrants. I have lived in Melbourne all my life. I love to visit places all over the world and admire them greatly, but I work best in Melbourne. I have trouble imagining living anywhere else, as the city and the rural character surrounding Melbourne inspire me so much.

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  • The Art of Dying

    Dylan Rainforth, The Age, 8 September 2015, p. 46

    Invited artist Polixeni​ Papapetrou​ has a closer relationship with the idea of mortality than most, having being diagnosed with terminal cancer almost three years ago. "She wanted something positive," Cass says, "and she's made a beautiful, contemplative series using flowers as well as a very iconic image of [her daughter] Olympia."

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  • Polixeni Papapetrou : à l’est de l’Eden

    Jean Paul Gavard Perret, Le Salon Littéraire, July 2015

    Face au Malin (souvent incarné en mâles) Polixeni Papapetrou se fait visionnaire d’une forme de paradis qui ignore la chute des corps féminins. Ils sont porteurs d’espoir, ils deviennent un miracle, une entorse face à la pesanteur du monde. L’artiste offre une sorte de rêve mais dont le romantisme est particulier et en quelque sorte dialectique. Il permet à l’alphabet féminin d’imposer non un logos mais une poésie. Elle devient une méditation sur l’essence du féminin, sa présence face à la barbarie des pouvoirs masculins.

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  • Storm in a Teacup

    Alexandra Manatakis, Neos Kosmos, Weekend edition, 27 June 2015, P. 19

    For some, the most essential form of storytelling is the power of the written word, but for photographer and artist Polixeni Papapetrou, photos can transport the mind into a surreal world of narrative. Through her photographic career spanning more than 20 years, Papapetrou creatively reinforces the importance of the image that carries her style and cultural identity.

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  • Fiction coated truth pill presented

    Dylan Rainforth, The Age, 24 June 2015, p. 40

    Aboriginal culture is based in oral tradition, with Dreamtime stories passed on just as memories of colonial injustices are. It makes sense then for an Australian exhibition to look at history, memory and identity through the frame of storytelling.

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  • Polixeni Papapetrou

    Anne Summers Reports, Sydney, No. 11, February 2015, pp. 15-20

    In the series Lost Psyche I wanted to talk about history, memory and psyche. The Immigrant, for example, portrays a nineteenth-century immigrant (played by my my daughter), but countless others have followed her, often bringing with them to their new country a world of harrowing memory and fragile hope. Often the immigrant—such as my parents coming from Greece to Melbourne—are torn between the past of their home land and the future of their adopted country. The work is also a metaphor for the journey from childhood to adulthood.

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  • Polixeni Papapetrou frames figures that blend into the background

    Bronwyn Watson, The Weekend Australian, 24 January 2015, Review p. 15

    DEVELOPED by Scottish gamekeepers to protect their lords’ lands from poachers, the ghillie suit has since become popular with hunters, snipers, the army and Call of Duty devotees. The suit, which is camouflage clothing designed to resemble heavy foliage, helps the wearer blend into the landscape. Snipers even have little ghillie suits for their rifles.

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