The series “Evergreen Gardens” by Eleni Tsotsorou forms a cohesive visual proposal that explores the conditions and possibilities of matter as a carrier of form, memory, and the construction of vision. Through the repeated use of fabrics, acrylics, glue, and other non-traditional materials, the artist develops a unique, non-representational approach to nature — not aiming to depict it, but to translate it visually in terms of structure and surface.

The concept of the “garden” functions here as a conceptual substrate: it suggests a place of organization, rhythm, and repetition, without conforming to the expectations of representational art. Tsotsorou’s focus lies in the manual densification of material, in pleats, in the sequencing of formal elements that disrupt the traditional distinction between plane and volume. The visual surface becomes a site of accumulation, resistance, and displacement of the viewer’s gaze.

The color palette, whether limited or intense, functions not as a means of expression, but as a tool to articulate texture and materiality. Color is not applied in a painterly way, but is integrated into the surface through gesture or layering. In some works, the use of black and gold evokes references to historical or decorative systems, without replicating them. The frame, often elaborate, creates a point of friction between the organization of form and the historicity of presentation.

This series does not form an iconographic unity but rather a field of work on the internal relationships of matter. The “garden,” as posed here, serves as a reference point for organizing the work, without defining either its content or outcome. The notion of “evergreen” does not retain a literal meaning, but rather points to the stability of a morphogenetic system, independent of chronological or seasonal changes. 

With this series, Tsotsorou proposes a methodical investigation of matter, form, and the boundaries of the visual field. She addresses a viewer who accepts the duration and resistance of matter as defining elements of the visual object.

–Paris Kapralos, Art Curator