A place may already be illuminated via its intention to move towards the light.
2000-2005 Painting at the Athens School of Fine Arts studying under Professors Yannis Valavanidis and Mihalis Manousakis.
1992-1997 Athens School of Graphic Arts and Art Studies, Department of Interior Architecture and Industrial Design
2019 ART ATHINA - International Contemporary Art Fair of Athens, Zappeion, Greece
2019 Exclusives, Astrolavos Art Gallery, Athens, Greece
2018 Small Panorama of Modern Greek Art, Astrolavos Gallery, Athens
2017 Highlights, Astrolavos Gallery, Athens
2017 ART ATHINA, International Contemporary Art Fair of Athens
2017 REQUIEM, Astrolavos Gallery, Athens
2016 Highlights, Astrolavos Gallery, Athens
2016 Oia Treasures Gallery, Oia, Santorini
2016 Exclusives, Astrolavos Gallery, Athens
2015 RED, Municipal Theater of Piraeus, Greece
2014 Winner of the International Competition NEVERLAND, Exhibition, Cultureinside gallery, Luxembourg
2014 CONTROVERSIAL, International exhibition of contemporary art - Villa Graziani, San Giustino, Italy
2010 ArtSpace - Santorini
2008 Image – Space – Action 2, Technopolis of the Municipality of Athens
2007 CONTEMPORARY ABSTRACT ARTISTS, Astrolavos Gallery, Athens
2006 Exclusives, Astrolavos Gallery, Athens
2006 Four new artists, S. Lazaridou Art Gallery, Kallithea
2006 Image - Space - Action, Chamber of Arts of Greece
2005 Ηighlights, Astrolavos Gallery, Athens
2005 Graduates of the IV Studio of Painting, Union of Graduates of the Athens School of Fine Arts, Athens
2004 3rd Biennale of Students of the Greek Schools of Fine Arts, Creta Maris Hotel, Herakleion, Crete
2003 Department of Painting of the Athens School of Fine Arts, Municipal Gallery of Karditsa
2001 Livres d’Artistes - Texts and objects, Gallery “7”, Athens
2013 SUN STATION / Museum of Oil, Gatzea, Pelion, Greece
2010 LIGHTSCAPES / Δυνητικά ξέφωτα,Astrolavos Dexameni, Athens
The paintings of Anna-Maria Papadimitriou, due to the manner in which their form is brought together, utilise a series of contrasts: elements real and utopian, movement and calm, things timeless and instantaneous... Colour plays a dominant role in the creation of the artistic space. Below the colour surfaces, however, there simultaneously exist complex tracings that organise the structure of each piece. These two elements, manifest colour and covert design, define the function of a resonant space, without specific descriptive references, in a manner difficult to classify in current style categories. It is a form of painting whose starting points lie in experient ial or artistic stimuli, which are gradually transformed into fresh images, absolutely contemporary, built with sensitivity and knowledge. Despite the complex proce ss, the initial theme continues to function all the way through to the final result, maintaining its loaded meaning and its sig nificance. This leads to a sense of completion and honesty, which reinforces the persuasiveness of the images, underlining their truth.
Painter – Professor Emeritus, Athens School of Fine Arts
The Greek artist displays a prodigious talent for painting. It is all so soft, tender and balanced. The canvases have a subtle underlying structure evident of an act which began quite loose, playful and sketchy followed by settling on one organising principle before developing the work to its full glory.
Some of her paintings are titled, others not. Others again fit into a series such as ‘light scapes’ which in turn became the title of a solo exhibition in Athens. At closer inspection a work like “Aquatic passage” has thin paint which has run upwards before drying. It is not suggesting that her art defies Newton’s Law of Universal Gravitation as much as the artist having observed some happy accidents and decided to turn the canvas upside down at some point in the process.
Papadimitriou refers to her work as ‘unfamiliar internal landscapes’. Of course, it is a deeply personal journey for the artist that we could not and should not mimic as viewers. But for our part, at least, the overlap between the artist’s journey and our perception is an emotional connection in the literal sense that emotion equals energy in motion. With this connection, you never feel pickled in a jar and pushed about at whim, but you have a sense of the work pulling you along gently, but firmly.
When the art is regarded in a sequence, it is as if one is cocooned inside some thin aqueous membrane. A sensory space that allows light to penetrate in soft yet diffused rays, resulting in the outer space and the subconscious teaming up to generate abstract imagery.
It is a state of being that may spark off memories of sky and sea, or some fleeting moment as if seen through a frosted pane of glass. It is a welcoming shock-absorbing space offering you little sense of direction. Here you are simply adrift as if floating gently about by the aid of rising and ebbing tides in an estuary. You somehow feel more than satisfied capturing the interplay between light, darkness and subtle colours.
Listen to the silence. Listen to those who are silent. There is no language more deafening than that of the gaze. M.S.
Once upon a time painting was a window that introduced the world to a visible revelation. Today painting experiences a crisis in its very essence, and if it doesn’t want to be consumed by illustrational naivete, it should delve deep into the invisible, and render it perceivable. In other words it should render internal life sensate. Which is by no means easy! Comparable, difficult subjects are what the daring, at times bordering on insolently so, artist Anna-Maria Papadimitriou deals with. Her painting is luscious in its use of colour yet sensitive, proportioning her cloth equally of free improvisation and conscious self-restraint. In other words, she plays with boundaries (to their outer limits). Her compositions seek an inner light, submit internal landscapes, ascertain the secrets of the night with questions of the daytime. Oftentimes pleasurable, decorative solutions exorcise the evil borne by the cold greens or the blacks. Pas mal. In short this is gestural, emotional painting that seeks a path amongst the leading exponents of lyrical abstraction, including Soulages, Wols, Riopelle, Hartung, and Mathieu, but also Greek artists including Maltezos, Svoronos, Lefakis, Kessanlis and others. At issue is the fact that consistency and continuity should be present in the history of artistic forms so that things do not happen in vain. And furthermore so works do not rot before the indifferent gaze of ignorant or presumptuous viewers and each generation can learn from the previous one. - Does such painting have a raison d' etre nowadays? - Can an audience be formulated otherwise, as people nowadays have television vulgarity stuffed down their throats on a daily basis? (as we have degenerated into a nation of TV addicts?) - Is there time for contemplation before a painted image that seeks what is self-evident? In other words, to move our senses, without at the same time extorting an emotional response? - Don’t be in a hurry to respond. As we’ve already said: these are difficult issues to discuss...
20-01-10 Manos Stefanidis
P.S.: The system requires time without “history”, the word without its meaning, an image without its flesh.
P.P.S.: The past, and its infinite time, are forms of eternity to which each of us can lay claim.
This house has no walls. You enter and at the same instant find yourself outside. Orientation is oftentimes subverted. Light endures. Time cannot be distinguished. Seagulls beat time every time they cast their shadow on the rocks. And disappear. You find yourself beside yourself. And despite all this, this unfamiliar space is your most personal home. You feel proud for not covering it with a roof. That you didn't rush to build it.
The unfamiliar is like a space that is more open, broader, and stretches its boundaries out in all directions, for a single instant gazing at the truth. But a single instant is all that is needed in order to overturn this. To open it up further and to redefine it. A process that is also unavoidable in my paintings. As each work is connected to and can be confused with the body. Successive layers and matter stirring together sometimes make a piece heavy. Baggage can weigh you down on a long voyage. This is the voyage I was telling you about. About a mountain that you must cross. Your own self.
In painting I am interested in and challenged to enter into a confessional space, to extend my boundaries, to "open up" by activating the unconscious, bringing to the surface different ways to communicate with existence. Memories of water. Memories of the sky. I will attempt to free fall, dive deep and rise to the surface. To see glimpses of the future taking shape in the present. So many images await. So many lightscapes.