Nikomachi Karakostanoglou

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Born and raised in Athens, Nikomachi Karakostanoglou is a multi-media artist whose ongoing experimentation with pigment and organic forms transcends the need for spoken language.

Following an accomplished career in interior design, Karakostanoglou translated her keen spatial awareness into a full-time artistic practice, beginning with experimentation using Indian inks and other pigments on paper. Inspired by the brushwork of Lee Ufan and Gutai contemporaries, Karakostanolgou’s art practice has taken her from Athens to London, Shanghai and - most recently - a residency in Atacama, Chile.
 
Throughout her travels, Nikomachi Karakonstanoglou’s painting has adapted to reflect the organic qualities of natural landscapes and a deep appreciation of traditional art forms — including Etruscan terracotta vases, Attic pottery and Chinese Tang Dynasty calligraphy. Her multicultural approach is articulated by reducing these man-made and natural elements to their Aristotelian poetic shadow, evoking the very essence of classical Greek art: sensory and emotional fortitude. In both her paper-based and sculptural work, Nikomachi Karakonstanoglou stands apart as an artist with a holistic and transcendental appreciation of presence and the body in space.
 
Nikomachi Karakostanoglou draws inspiration from surroundings
Karakostanoglou’s artistic practice might speak universally, but it remains firmly grounded in her home studio in Nymfaio, where the artist draws continuous inspiration from her Hellenistic artistic heritage and the incredible natural beauty of the coastal landscape. This environment permits her to reflect on the ineffable qualities of memory and nebulous tendrils of thought which inspire her automatism in ink and marble.
 
There is a certain Apollonian, lyrical quality to Nokomachi Karakostanglou’s artwork and brushwork which she self-describes as a communion with the water she adds to activate her paints. Many contemporary viewers and critics like to conceive of the artist as genius, perpetually in control of minutiae, perfecting a final product. But to do so would be firmly against the philosophy of Karakostanglou’s eco-centrism. Instead, she works with her paints and the elements to create pieces not only bio-mimetic in form, but also ecologically informed in their creation.
 
The artist’s self-reflection and spirituality are apparent in viewing her work. Appreciating the swirls and strokes within the ink and stone requires stepping back and relinquishing oneself to perspective, losing oneself in the disjointed temporality and ephemeral fantasy which her pieces invoke within. Although it would be a stretch to call Karakostanglou’s paintings diagrammatic, there is a cartographic sense which the artist shares with the likes of Anish Kapoor or Hilma af Klint. Perhaps it would suffice to say that Karakostanglou investigates that mystic third place that hovers above phenomenological experience. She maps the borderlines of nature and its dreams.


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