18-23 April | April is the cruellest month at Snehta Residency

April 17, 2019


April is the cruellest month”

Paige Davis, Elsa Henderson, Jingbo Zou and Thanos Makris
Curator: Faidra Vasileiadou

April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.

T. S. Eliot – The Burial of the Dead, The Waste Land, 1922

As a launching pad for the exhibition “April is the cruellest month” constitutes the first verses one of the most ubiquitous and timeless poems of 20th century, that of The Waste Land from T. S. Eliot. He creates his own arid land, where he runs up against existential quests, expressing the psychological and emotional sequence of his ideas and images with elegiacal descriptions and clarity in detail. T. S. Eliot’s Waste Land, one could say, that consists an assembly of the fragments he collects around him, forming a study of the human soul. A space - a parallel spectrum - in which are dealing issues against the deterioration and decay of society and individuals.

In their two-month stay in Athens, artists Paige Davis, Elsa Henderson and Jingbo Zou are trying - each in their own way - to look through the influence of the subconscious for the visual experience of modern human sensitivity. Together with the residence artists, Thanos Makris will present his work, which deals with the works of the show.

Short Bios:

Jingbo Zou, graduated from University of the Arts London, London College of Communication. His work presents a fusion of traditional Chinese philosophy and Western contemporary art through photography and moving image, try to explore the balance between ancient and modern, tradition and contemporary, complexity and pureness.

Paige Davis lives and works in Santa Cruz, California, U.S.A. She graduated from University of California, Berkeley in December of 2017, where she studied Art Practice and American Studies. These two paths of study have allowed her to create one wide practice of seeing -- or noticing, listening -- and researching. Davis considers her work a physical and active thinking -- a multi-dimensional and often modular collage -- a sort of tactile research built on processes/processings and every day, quiet moments. The work feeds off of a question or a prompt, and continues to form, or become less of a form, as it moves around the prompt. Recent work centers around shadow -- literally and co