Usually the work is performed on a rigid support such as MDF, plywood or other material with similar characteristics. This is due to the fact that the rigid surface facilitates the use of tools such as rollers, spatulas and similar tools, useful for working on large surfaces.
The colors used are usually acrylics, but powdered pigments also have their space, pastels, pencils but also gauze, rags, newspapers… etc. Sometimes the use of charcoal is very useful for creating dark tones with a velvety texture. In these cases the color is then covered with an acrylic fixative.
My work usually has an emotional matrix. I wish to communicate and highlight the emotional tensions generated by the events of life, by new countries, colors, music, etc. All these sensations gather in my memory forming a kind of deposit that I use during my work. In this sense, traveling constitutes a great opportunity for knowledge. Also for this reason the works often have names of countries.
When the work begins I have only a faint idea of what the final result will be. Start a long journey without a set destination.
It is often during the work that certain forms are revealed, inviting us to follow different paths from those initially thought. The roller runs on the surface, the spatula adds or removes color, the pastels emphasize the shapes just perceived and something happens… a new possibility emerges.
This is the crucial moment: The new form demands visibility, it must be made real.
Thus was born “Borea” to remember the peaks and the cold of the North wind, so it emerges from the memories of a trip to Egypt, “Luxor”.
Bruno Munari, a well-known designer once said: “It’s a terribly serious game” referring to this exercise of extracting and distilling emotions from one’s memory.
Chryssis Vici (2013)
“Trees, our brothers”
Once I happened to be alone in a forest, but after the first moment I didn’t feel alone at all. At every step I felt like I was meeting someone, not humans but Trees. Some with features that recalled the human figure: arms, legs, strange postures …
I began to observe them carefully, no longer with a superficial glance. It seemed to me that they communicated and I began to select them according to their anthropomorphic characters. There was the aggressive one, the sweet one, the lazy one, the elusive, the presumptuous etc… In short, a real and varied population.
There was a clear sensation of having involuntarily fallen into another dimension of our usual reality. Almost like a ghetto where a foreign population led a life similar to ours but with different characteristics. These mainly concerned the conception of time and mobility or, if you want, stillness. I got excited and decided to try to translate these emotions into images.
Chryssis Vici (2020)
“Boats and Relics”
This is a series of works created with oil and paint to which beeswax was added. In other words, instead of being diluted with oil, the color was blended with a mixture made of wax and a thinner to keep it soft and malleable.
As for the main subject addressed in the work “Relics”, it was inspired by a period of time which I spent visiting shipyards and during which I first came face-to-face with these old queens of the sea, now fallen into disuse.
I was fascinated by their deteriorated appearance … their peeling paint… their crumbling decor… the rust… All things that tell of great voyages, adventures, intrepid lives.
Things that now remain only in the dreams of these old abandoned vessels.
Chryssis Vici (2018)