Taking Greek Myth to Greece

In May 2017 I was invited to join a group of artists exhibiting in Athens, Greece, as part of Platforms Project 17. I have an interest in Greek Mythology, which often comes into my practice, and so I wanted to make work to reflect this.
For one of my pieces of work (I took 3), I decided to build on the Penelope piece I had previously made (see my last blog post), but this time work with Greek text. I speak a little Greek, and find the language and the Greek letters beautiful, and so I chose to use the word for Faithful (πιστή Pisti) to once again stitch and un-stitch.

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Faithful [work in progress, before the text was un-stitched]. Cotton on Aida. 2017

 

This piece was smaller than the Penelope piece, due to time restrictions on making something of that size. The Greek Key pattern was stitched with white cotton on black Aida, and broken up a little to mimic ancient mosaic patterns. Once again, the word was stitched and un-stitched, leaving larger holes in the fabric, so that the letters could be seen.

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Faithful. Cotton on Aida. 2017

The work was very popular with a Greek audience, especially the secretive nature of the lettering, which became clearer as the fabric was touched.

While in Athens I was lucky enough to visit various archaeological sites and museums. The patterns that come up again and again on Ancient Greek pottery are very inspiring to me, and lend themselves well to cross-stitch. I will be returning to Athens again this year, and I am currently developing work to exhibit, some of which may well draw on this inspiration.

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About Sharon Mossbeck

Sharon Mossbeck is a conceptual artist based in Sheffield. Mossbeck's work focuses on themes of death and religion, often presented in a vibrant, hedonistic manner. While based on themes of death, her work is more easily read as a celebration of life while questioning what may happen beyond. Mossbeck works in a variety of media, including painting, sculpture using found objects, photography and textiles. Available for commissions.
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