Zoe Paul’s exhibition at The Breeder Gallery in Athens holds a fascination with the characters of the domestic spaces, in a great intersection of anthropology and architecture.

The Greek artist practices a questioning of the threshold between the interior and the exterior of every time, using mixed media, sculpture and installations that explore how we perceive history and treat historical objects. She has incorporated wool weaving on found fridge grills that hold strong painterly qualities and yet gentle domestic appliance to textiles. In her sculptures the relation with the body and found object stands out.  The choice of textures and how she presents her work call into a social presence: visitors are invited to interact with the pieces and between each other as they have done in society since the beginning of time. The act of serving food or simply to put a body into motion is manifested in a pure and detached way. The purpose is not to romanticize, but to visualize a human action in relation to body, shape and textures – where each weaved line is a representation of a society that can’t exist without the next one. As an extension of the organism in the time we live in. The fountains are made out of clay, and one do get highly aware of the fact that the human hand was essential in creating the pieces. Clay holds great importance within the evolution of mankind not only due to its role in art history but also for its utilitarian value, a material made to build everything from pots to house, a material that litterally built human civilization. Zoe Paul‘s works find their place in between the sculptural context of gesture and form. As the artist grew up between Oxford in England and the Greek island of Kithira, with South African origins, her artistic identity is highly as organic and intricate as her lineage and the environment where she grew up.