Panayiotis Doukanaris

Panayiotis Doukanaris was born in 1991 in Nicosia, Cyprus. Lives and works in Thessaloniki, Greece. Doukanaris studied Fine and Applied Arts at Aristotle University of Thessaloniki and in 2016 he received his M.A in Fine Arts from Birmingham City University, UK. In 2016-17, he worked as an Assistant Professor at the Department of Visual and Applied Arts in Fine Arts in Thessaloniki. Following this year, he worked as a Professor of Visual Arts in Primary School and in Private Schools. Selected group exhibitions include: Painting Notes, Art Seen Contemporary Art Projects and Editions, I Like Us, Institut Francais de Thes, Thessaloniki; Macedonian Museum of Contemporary Art, Thessaloniki; Teloglion Foundation of Art, Thessaloniki, Greece (2017). 7th Biennale of Fine Art Schools Athens, Theoharaki Foundation, Athens, Greece; Cypriot Young Creators, Teloglion Foundation of Art, Greece (2014)..

The work submitted in this application is based on my research in the materiality of painting and its plastic nature. Through the history of art, at the very beginnings, canvas was the conditional carrier of the image. It was dealt as the medium necessary to paint an image, whether that image was a representational, abstract or anything else. After the punctures of Lucio Fontana, canvas attracted attention on its dimensional character – showing to the viewer that this was not simply a necessary condition but instead it has its own character which in fact predetermines a lot the image it accommodates. This work intervenes in the nature of the canvas and particularly to its weave pattern. The canvas is first painted with oil colors and then is being manipulated – threads (weft) are being carefully removed opening up the dimensions, offering a see-through characteristic and exposing its ontology. The colour of the initial image fades, and the unravel process leaves behind the paint as tiny dots. In the end, through this process of unraveling the weft, the usual relationship between the canvas and the image is overturned, and the superiority of the image is lost. The painting image is now the materiality of the canvas and what is considered to be painting broadens up.


UKYA City Takeover: Nottingham 2019

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Visual ArtsOliver WoodP