In her new solo exhibition “Kore,” at the Breeder Gallery, visual artist Georgia Sagri presents a diverse body of work – featuring sculptures, paintings and kinetic installations – that revolves around the thematic concepts of identity, transformation and perception, what Sagri calls the “act of seeing.”
Sagri chose this title because the word in Greek has multiple meanings, capturing the multidimensional character of the exhibition: “It means daughter, referencing both familial relationships and the myth of Persephone. In classical sculpture, it denotes the freestanding maiden figure, symbolizing youth and potential. Anatomically, it refers to the pupil of the eye – the gateway to perception,” she explains.
For her, each piece is a self-portrait of her different mental and emotional states, “not in depicting my physical likeness, but in expressing internal states and experiences.”
One standout piece is “Caryatides. Absent Father,” which stands out visually from the rest of the exhibition through its intense blackness. Consisting of piles of some of Sagri’s clothes painted black, it’s her take on the classical architectural figure of the caryatid, a stone carving of a draped female figure, used as a pillar to support the entablature of a Greek-style building. “It reimagines the caryatid as a symbol of support and burden of loss, either being the lost father or the burden of mourning,” she says.
Sagri’s background, which spans from performance art to political activism as one of the founders of the Occupy Wall Street movement that spread across the US during the 2008 economic crisis, is also strongly present in the exhibition, with many works incorporating movement or even direct viewer participation.
Visitors are invited to sit with their back against the sculpture, often unaware that they have become part of the artwork
At the heart of the exhibition is the work “The Heart of Kore,” a hexagonal bench encircling an elevated glass sculpture. Because of its structural design, visitors are invited to sit with their back against the sculpture, often unaware that they have become part of the artwork.
“The bench invites participation, blurring the line between observer and participant,” says Sagri, adding that the act of sitting with one’s back to the sculpture challenges traditional viewing dynamics in art. “This setup encourages viewers to engage with the work and each other in a shared space,” she adds.
Sagri explains that her decision to engage with the concept of perception also carries political undertones, serving as a critique of how technocapitalism shapes our senses through a relentless flood of images transmitted via screens.
“The exhibition critiques the ways in which these systems affect perception and embodiment, making the political dimension inherent in the work’s exploration of personal and collective agency,” she says.
In a sense, its subtlety may be one of the most valuable aspects of the exhibition, especially given the rapid pace at which we consume visual stimuli today. It invites the viewer to pause and reflect, without relying on spoon-fed narratives or meanings.
“Kore” is on view at the Breeder Gallery (45 Iasonos, tel 210.331.7527, thebreedersystem.com) until June 7.
