Eleni Pratsi

Eleni Pratsi

Eleni Pratsi Artist: Has 228.00 artworks for sale

  Rated 4.5 / 5.0 by 31 clients as the best artist
  Artist: Eleni Pratsi
 Live in: PARIS, JUVISY, France
 Artworks for sale: 228.00
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Eleni Pratsi Artist Bio:

Evidently the activity I practice is far from resembling classical art. The colour plays an important role in my work. It has always been so. However, in recent years my artistic practice has led me towards an absolute attachment to colour, which I approach as the main issue in each painting. Passionate for abstract paintings since the discovering of Bernard Frize's work, this constitutes the greatest influence as well as reference of my work. The flashy and sometimes violent colours of my choice are enhanced at the utmost point to match both my personal reaction and my mood. My work focuses on composition systems and colour. One often encounters circular forms that constantly play on colourful structures. Beyond doubt, the circle plays a favourable role in my paintings. Treating the circular form as if it were the unique letter of my plastic alphabet is based on a personal choice and backed up by a childhood memory: when asked by my instructor, at the age of eleven, as I took my first art lesson to draw a circle, this turned out to be perfect, to Eliza's taste. Consciously or unconsciously I recall her overflowing enthusiasm but also my feeling so proud for having traced a circle, my first circle, a perfect circle. With this childhood experience recorded undoubtedly in my subconscious, ten years later I initiated a series of artistic studies through which I've been pursuing, ever since, the perfect circle. I have very concrete intentions. Through my abstract paintings I explore the range of possibilities of a particular issue, inferring that the painting as a questioning. They offer a world that is simple, unblemished and easy to penetrate. " I thought my work should consist of absolutely simple images, of paintings emerging directly from materials, tools, technics. I decide on a working mode and the painting simply appears as a result of it" . I stand for colour, material and mechanical gesture controlled by various tools. In order to accomplish my works I've made use of ordinary and gigantic compasses, scotch, kitchen utensils, rulers, cutters, etc.: these constitute my precious assistants. It has been a personal choice to approach the artistic creation indirectly, by putting forth the materiality of the medium and tools which are sometimes inappropriate or by using various techniques, an attitude that indicates my play attitude. The use of a variety of tools allows me to create images that could never be generated by the paint brush or by bare hands. In my belief that makes the spectators question themselves in an increasingly insistent way on their origin or on the elaboration process that has led to them. "These paintings aim at rendering visible the mechanism of pictorial conception" . In my view, the primary object is to approach a painting in an almost trivial way. There is no heroic gesture on the artist's behalf. One could evoke a reversal of data that determine my activity. Consequently it's no longer myself who submits the materials to my view, but it's the materials which incite my approach. All my thoughts function in my subconscious. Then I notice something but I never lead my work towards a precise result, since the intention is never present at the initial phase. All is done during the work process. The painting is auto produced. My desire is for my paintings to constitute the object of the discussion around the creation process, considering that each moment or phase in the workshop is sacred. Every creation of mine serves as a pretext for multiple variations. A modification in colour, format or processing produces a new lighting to the previous work. My work is nourished with every element found around me, in actual time (from television, an exhibition, a pub, music, a thought, a feeling, a tool, a technique, colour, nature, etc.). I aspire to invent a plastic language of my time, that is, contemporary, a new "modus operandi".