AyisZita (Ayis E. Zavliaris)
Born in Athens in 1976.
Main Practice: Abstract painting in different media (acrylics, oils, aerograph, inks).
1994. – 1997. Bachelor’s Honors, Civil Engineering, University of Surrey, Surrey, UK.
1997. – 1998.Master of Science, Environmental Engineering, Imperial College of Science Technology and Medicine, London, UK.
1998. Workshop in painting, Korkovelos Studios, Athens, Greece.
1999. – 2000. Master of Arts Sustainable Architecture, Architectural Association, School of Architecture, London, UK.
2001. Workshop in Filmmaking, New York Film Academy, New York, U.S.
1999. Group exhibition of European artists, Freud Bar-Art space, London, UK. .
2001. Group exhibition on abstract painting, Freud Bar-Art space, London, UK.
2003. Exhibit of works on abstract painting, Astrolavos Galleries, Athens, Greece
2006. Solo painting entitled exhibition “KIME 001”, curated by Giuliano Serafini, Etoile Toy Visual Arts, Florence, Italy.
From the very start I thought that Ayiszita belonged to an unimaginably advanced and disenchanted generation, and not just because of its youth: a generation which extends its thought and creativity without ideological guarantees and safeguards into circuits which were until very recently considered to be taboo as a result of their apparent irrelevance to ‘values’ recognized by right as belonging to artistic expression.
Within the painting-drawing of Ayiszita there exists a manifestation of a sign-rhythm-sound-color which emanates from a unique energy-impulse, revealing in the fragmenting freedom of its broken and rigorously rectilinear segments an evident analogy with the telematic and musical culture that is a vital part of the system of communication of new generations, and which the artist passionately interprets.
I find in these works a sense of the digital tribe, a starting from the end, a system of codes which form part of our present visual and mental stimuli and which basically are not the result of a conquest made over time so much as a way of manifesting and ‘creating’ time, the only time we are able to perceive and live in the here and now: a time everywhere considered as being ‘real’.
Ayiszita’s ‘real’ time is in the absolute flagrance of the sign left upon the paper or canvas. We are asked to verify nothing more – if not its aseptic, cold presentation which at times in the repetition of the module, makes us think of an amorphous mechanical reproduction rendered various by a digital program. What the eyes perceive resembles, both in the past and now, a challenge – and here we could speak of scepticism, which however has lost its critical connotation – a scepticism if anything which is playful and hedonistic, which no longer needs to know why it is so.