The three dimensional works titled “Pumping Bags” are part of a series connected to motherhood. All the materials the artist uses to make these pieces were single use pumping products.

The three dimensional works titled “Pumping Bags” are part of a series connected to motherhood. All the materials the artist uses to make these pieces were single use pumping products.

The three dimensional works titled “Pumping Bags” are part of a series connected to motherhood. All the materials the artist uses to make these pieces were single use pumping products.

The three-dimensional works are part of the series “BedSheets”, where the movement of the fabric is frozen, alluding to different types of beds and the relationships and experiences they cradle. The beds that hold our sleep and our emotions are brought in front of the viewer in material form. The audience is invited to discover different kinds of “BedSheets” – in other words, human contact and experiences. The movement of the body(ies) on the sheets, is connected to the deeper meaning of freedom: of the individual, of society, of the citizen.

The three-dimensional works are part of the series “BedSheets”, where the movement of the fabric is frozen, alluding to different types of beds and the relationships and experiences they cradle. The beds that hold our sleep and our emotions are brought in front of the viewer in material form. The audience is invited to discover different kinds of “BedSheets” – in other words, human contact and experiences. The movement of the body(ies) on the sheets, is connected to the deeper meaning of freedom: of the individual, of society, of the citizen.

The three-dimensional works are part of the series “BedSheets”, where the movement of the fabric is frozen, alluding to different types of beds and the relationships and experiences they cradle. The beds that hold our sleep and our emotions are brought in front of the viewer in material form. The audience is invited to discover different kinds of “BedSheets” – in other words, human contact and experiences. The movement of the body(ies) on the sheets, is connected to the deeper meaning of freedom: of the individual, of society, of the citizen.

The three-dimensional works are part of the series “BedSheets”, where the movement of the fabric is frozen, alluding to different types of beds and the relationships and experiences they cradle. The beds that hold our sleep and our emotions are brought in front of the viewer in material form. The audience is invited to discover different kinds of “BedSheets” – in other words, human contact and experiences. The movement of the body(ies) on the sheets, is connected to the deeper meaning of freedom: of the individual, of society, of the citizen.

Part of the series titled FORM/Less exhibited in 2016 at the Jewish Museum of Greece, this piece was inspired by the artifacts of the museum. In this series the artist’s concentration was on the material itself rather than the color.
By interacting with the materials, Fragoudaki seek Forms or Ideas indirectly associated with their conventional intent or purpose. Each material or object manifests different Ideas and properties. The viewer, however, is only conditioned to see some of those, often because they are more common or more dominant. In this body of work, her paintings use the emotions triggered by the visual experience as a process of revealing hidden Forms and Ideas.
Delving into the greater concept of materiality she questions what we see, what we feel and what we are able to understand trying to reveal Forms that are inherent to the objects, but hidden at first sight. As she interacts and incorporates them in her paintings, different characteristics and emotions are revealed. Sometimes obvious, sometimes surprising.

Fragoudaki is utilizing materials such as feathers, rubber and string to create three dimensional, more sculptural pieces. My focus in this series has shifted from the paint to the material itself and how it interacts with the surface its placed on and with other materials. She is interested in the contradiction, the difference, the manipulation of the materials and how she can make them interact altering their properties to resemble one another.

In this body of work Maria explores the creation of a Haptic system (Greek: haptόs, suitable for touch) and concentrates on the material as the subject matter rather than just paint itself. Through the choice and use of material she aims to enhance one’s senses, giving viewers the impression that they have actively explored her works, rather than just have a passive contact.

In this body of work Maria explores the creation of a Haptic system (Greek: haptόs, suitable for touch) and concentrates on the material as the subject matter rather than just paint itself. Through the choice and use of material she aims to enhance one’s senses, giving viewers the impression that they have actively explored her works, rather than just have a passive contact.“