Simos Triandafillakis Private Art Collection

Dimitris Efeoglou [notes] 2023 Overpainted and engraved analog photograph 10 x 15 cm  Unique  The [notes] series begins with a sequence of walks through natural, rural environments—paths among forests, ruins, cabins, lands, and roads stripped of any activity or presence. These photographic “notes” are a collection of analog and digital small-scale images that document a lens-through observation of the emerging landscape. These photographs are subsequently engraved and overpainted in a process of erasing the representational image. The engraved photographic paper, along with the environments it depicts, becomes identical—everything is now only implied. The details distinguishing each imprinted landscape are altered by painterly gestures that either conceal or introduce new elements. The viewer’s gaze now wanders across a new scene: that of a non-place. Text and image courtesy of the artist 

  Lenora de Barros & Camila Sposati friend ship 2025 Pigment print on Hahnemühle 305 g/m², unframed 40 × 30 cm Ed 1/25 + 5 AP, with signed and numbered certificate This edition is part of  and the edition ´s series " yours truly (working title) " for which two artist-friends create an edition with each other in mind. Camila Sposati (*1972 in Saõ Paulo, lives and works in Vienna) and Lenora de Barros (*1953 in Sao Paolo, living and working there) entered into an intercontinental dialog for their editions, which resulted in two collaborative works. Each artist chose a photographic motif of their Œuvre which was cut in half and combined with the other ́s. Lenora de Barros chose photographs of her hands, in a a pose of giving and guarding. Camila Sposati took two motifs from her series  crystal growth  for which she collaborated with scientists from the University College of London to grow crystals. The results are collage-like works which were created consciously t...

  Majd Abdel Hamid Composition III, Chapter III: Anafi, 2024 Polaroid, lace, silk and cotton thread on paper 31x25 cm (framed) Ode to the Sea is an ongoing body of work—a travel journal of various cities and islands around the Mediterranean Sea. The first chapter focuses on the Kerkennah Islands in Tunisia, the second on Beirut, and the third on Anafi Island in Greece. In each place, materials like fabric, soap, found objects, and threads are gathered. This travel journal evolves into a collection of photo books, sculptures, collages on cotton paper, videos. The narratives emerge through visual and material compositions, creating a dialogue between sensory experiences and memories. Details such as shifting light, color studies, shades, and subtle impressions converge to evoke an ongoing, nonverbal diary.  “Completing a piece takes hours and hours, sometimes hundreds of hours. He develops series—a principle that allows him to explore the same theme, the same motif—over several ...

David Horvitz  Abandon the time (#13)  2024 78.8 x 54 cm (each) Sumi ink and watercolor on Japanese paper Limited edition of 100 unique copies Signature stamped on back David Horvitz approaches printmaking not merely as a technique but as a conceptual process—one that engages with the traditions of the medium while subverting its inherent structures. Historically, printmaking has been a space for artists, particularly conceptual artists, to experiment with replication, uniformity, and deviation. Horvitz’s practice plays within this lineage, consistently exploring the tension between mass production and uniqueness.  In Paris, he created a screen print reading Feed crows. While screen prints are traditionally identical, Horvitz deliberately disrupts this expectation by altering each piece—introducing water, layering different inks, or applying various materials— ensuring that no two prints are ever the same. This ongoing engagement with printmaking as a site of transformati...

  Nana Sachini  Bodies in Void (series), 2013 – ongoing Sculptures made out of plaster and food colour Digital print  The series began in 2013, when I started collecting discarded plastic packaging materials from various objects, which I decided to use as molds for sculptures. I pour plaster into them and make many copies of them at different times with different food colors, which are deformed to different levels. The initial forms of the molds are violently deformed during the shaping of the material, so that the form becomes more organic. Many of the sculptures that are created are photographed in front of a black fabric with silver thread, so that they look as if they are floating in space-time. Moreover, in this way, the sculpture-object loses its characteristics and acquires a new, unique identity.  By using and subverting traditional conventional sculptural technique, the work takes a critical stance towards it and towards what could happen when shaping proces...

  Paky Vlassopoulou  #61 (A day after a day after a day after a day) 2023  Porcelain   25 x 20.5 x 2.2 cm This body of work takes as a starting point Vlassopoulou’s research on Leros island, located in the east of the Aegean Sea and only an hour off the coast of Turkey, and its histories of multi-layered confinement. Leros has a long history of incarceration rooted in its exemplary landscape defined by water and unique architectural heritage. In the area of Lepida, military barracks built during the Italian occupation (1912-1943), have been reused ever since as indoctrination institutions in post-Greek Civil War era (1948-1964), prison cells for political dissidents during the military junta (1967-1974), mental healthcare facilities (1958-today), and refugee camps, known as hotspots (2016-today). Last year, right above the existing infrastructures, on top of the hill, a new controlled refugee camp, with barbed wire fencing, surveillance cameras, x-ray ...