A Conversation with Artist Eleni Odysseos
April 2022 - No. 9
Eleni Odysseos is an artist who was born in Cyprus and splits her time between London and Nicosia. She analyzes themes of desire, power, and societal hierarchies in her paintings, creating captivating compositions that penetrate the status quo. Elegant female figures and curious creatures lurk within her paintings, making for a wildly emotive and pensive experience. She is a powerhouse of knowledge and confidence, helping secure the professional way forward for young artists emerging in Cyprus.
Eleni Odysseos
How has your artwork and color palette evolved as an artist?
About a decade ago, I was working in abstraction with vibrant colors. My palette became muddier as I shifted towards figuration/abstract figuration. In my latest commission for the Court of Justice of Famagusta, I’m working with dark blues and muddy oranges, incorporating new shades of light inspired by the sunlit location and architecture of the building. The subject matter and palette are intertwined.
From left to right: “Abandon,” 120x80 cm, oil on plywood, 2021 and “Ascent," 20 x 80 cm, oil on plywood, 2021
Tell us more about your latest commission for the newly-built Court of Justice of Famagusta.
I grew up near the border of Famagusta but spent the past decade in London and Berlin. I’ve spent more time in Famagusta with my family due to COVID-19. During lockdowns, I’d take long walks with my dogs along the border, and a few months ago I visited the ghost town of Varosi. The ghost town and border in Cyprus signify pain, and I wanted to engage in narratives that focus on a positive light for the two communities.
For the Court of Justice of Famagusta, I’m working on a series of twelve paintings that take inspiration from the Festival of Oranges and the Festival of Flowers that occurred in Varosi before the war in 1974. Instead of focusing on the suffering of the separation, I’m celebrating the life and interconnectedness the two communities once shared.
I used images from the archives of the Press and Information Office of Cyprus (PIO) and I spent several afternoons speaking to my grandmother and her five sisters about their memories of Famagusta and the two festivals. Tales filled with color, light, and the smell of oranges influence the mark-making process and use of light in the work.
Odysseos in her studio in Nicosia, 2022
Please compare your experience being part of the art scenes in the UK versus Cyprus.
London’s intensity can both stimulate and stagger the artistic process. The high costs of living make being in London almost impossible for young emerging artists, it can be a true struggle. However, the supportive community, the excellent opportunities, and the unlimited access to fantastic exhibitions more than make up for the difficulty of living.
Cyprus is a little different. There is a real sense of belonging and rich history that deeply moves my practice. Being able to see my family is a blessing too. The intimate artistic community is brilliant, and now there is a real sense of change as organizations fight for professional artist’s rights.
How has growing up in Cyprus affected your work and the research you compile?
Cyprus has a dominating patriarchal society. I grew up in a village by the sea, which taught me how to appreciate the natural world, but also showed the realities of how jarring politics affect everyday life and development. Being engaged and active in contemporary politics shapes the language of my work.
“A Shoulder To Lean On,” 80 x 120 cm, oil on plywood, 2021
Please describe what it’s like establishing yourself as an artist in Cyprus.
Cypriot artists are very prolific and engaged with contemporary politics and the community. There are organizations and individuals working repeatedly without pay, struggling to improve artist's rights and social welfare. The government seems to be completely disconnected from these efforts, which can be very disheartening. I find it important to support my colleagues’ efforts in any capacity possible.
What resources do you feel the art community of Cyprus needs to help it continue to grow and flourish?
I would say that supporting visual artists and art theorists’ organizations is imperative at this time. Organizations like PHYTORIO have been working to make a difference for many years, and many of the opportunities we have now would not exist if it wasn’t for them. So, any support possible (whether it be financial, administrative, etc.) is important. Creating ongoing supportive relationships with emerging artists can really elevate their practice as well.
Keep up with Odysseos on her Instagram @eleniodysseos
