"As a response to the densely manufactured urban space, I am inspired by the delicacy found in the system of natural structures, including chemical elements and crystals."
Eleni's Instagram: @eleni_maragaki
How and when did you know you wanted to be an artist?
It wasn’t about choosing to be an artist at a specific point, but more about acknowledging that it was already an integral part of who I am. From a very young age, I was always drawn to art-making in various forms. This was consistently the most intriguing and engaging thing for me.
What was your experience of art school?
It was a time of growth, both technically and creatively. I learned new techniques and was introduced to materials like wood and metal, which allowed me to move beyond working primarily with paper. This helped me expand my practice into more durable and large-scale pieces. Art school also gave me a sense of belonging within the art community, finding support and inspiration.
Can you tell us more about the ideas and inspiration behind your work?
My art practice engages with the idea of geometry as a fundamental language, that both systemises the urban environment and provides a means of comprehending the natural one. I examine the structure, system and materiality of the geometric form in its natural or artificial state, drawing inspiration from nature as well as human-made structures. My work is focused on bridging the dichotomy between urban construction and the natural environment, as for me, architecture should be in constant dialogue with the landscape. As a response to the densely manufactured urban space, I am inspired by the delicacy found in the system of natural structures, including chemical elements and crystals. ‘A Universe’, my sculpture that is currently exhibited at the Hari Hotel, is conceptually linked to the idea of geometry being present within mineral formations. The choice of wood, being an organic texture on top of a strictly symmetrical form serves the purpose of highlighting the meeting points between the natural and the geometric. As an object, it is handmade to precision, striving to get as close as possible to a manufactured result, as I critically think about the mechanical accuracy in contrast to the imperfection of the human touch.
Are there other artists or movements that have inspired your work?
I am particularly interested in sculptural work that demonstrates technical skill as well as conceptual complexity. For example, I find the work of Alexandra Carr, a fellow ember of the Royal Society of Sculptors, intriguing for its exploration of geometry, movement, and engineering. Part of my practice involves exploring participation with the viewers through the creation of interactive work, such as immersive installations and gameplay. This has led to my interest in multifaceted artistic approaches that experiment with different methods of audience interaction and participation. Such
examples are the multi-sensory installations of Olafur Eliasson and the ‘Cloud Cities’, an ongoing project by artist Thomas Saraceno.
Can you describe a typical day in the studio? How do you approach your work?
My days in the studio involve a mix of preparatory and sculptural work. The method I follow in articulating initial ideas for possible sculptures, begins with conceptual sketches visualising my research in an abstract and exploratory way, without worrying about form or outcome. The next stages of my artistic process are characterized by meticulous planning, involving continuous tests, trials, and errors to achieve precision and accuracy in my final works. I enjoy working in between these two ways of practice, one being experimental and the other organised, and I consider them equally important to my work.