Debris (Enlightenment Panel no 2) by Zoe Panagiota (aka Betty) Nigianni

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019 until summer 2020. I exposed relief and improvised sculptures made with industrial paints, as well as found objects, to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. Someone collected the relief. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The performance would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, and other basic human rights, such as safety and liberty, due to their political beliefs and related activities, if any. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident by authoritarians. Since 2013, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. This happened with the theft of my personal details, specifically my Greek driver's license number, by Italians, in Amsterdam, in the winter of 2020. My number was used on three fake Italian driver's licenses,in my name known as (aka), for criminal activity in the UK. My name known as (aka) was also used on three fake Italian passports for fictitious female Albanian citizens. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. All the more so, after mediation with the Albanian government, the Italian government settled in the autumn of 2024 one remaining fake Italian passport for a fictitious Albanian citizen, probably in connection with Golden Dawn, who had their own three MPs in the EU parliament. Rumours have it that Fiore was once upon a time an MI6 agent. It is confirmed that he has ties with the British National Party (BNP), the British XRW component. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique: a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees of all kinds. At the time, in autumn 2019, I had attended an environmental protest in Amsterdam that was generally peaceful. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until the beginning of autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage), while the UK was still in the EU. I didn't have travel insurance either. A Dutch travel insurance, under the reference number E111, was opened by unknowns on my behalf in the summer of 2020, but was closed as fraudulent after I reported to the Dutch fraud authority. Presentation of work in progress. I have one-sixteenth Italian ancestry from a great grandfather on my father's family's side. His first name was Gianni. Locals in Greece, where he moved in the nineteenth century, used his Italian first name to create a Greek surname in order to Hellenicise him. The reasons for leaving his native Italy to go to Greece then are unknown; so is his Italian surname. See exposition in connection with "The Origins of the Game", "The Loot" and "XRW (Implicature)".

The body is composed on average by 53% water. The metal sheet sculptures could be made out of discraded or recycled water gutters. Digital drawings out of photographs of models for painted sculptures to be placed on the floor, 2021, 2023.

Post-abstract-expressionism aimed to make art about "the human subject turned inside-out, a function of space-at-large, the setting, the sitting, the impress of everything outside that once-sacred virtual space of art which had been the "inside" of the pictorial space, the "inner being" of the sculptural one (Krauss, 2000: 114).

Basquiat was heavily influenced by jazz music "- in the choruses and solos, in the representation of ancient African forms with divine resonance. In the role of homage, reference [and] riffs." But, utmostly, he borrowed the device of the 'signifying', a sort of "'trope', in which are subsumed several other rhetorical tropes, including metaphor, metonymy, synecdoche, and irony (the master tropes), and also hyperbole, litotes, and metalepsis. To this list we could easily add aporia, chiasmus, and catachresis."(Martinelli, 2000: 159-160)

Dieter Buchhart, Eleanor Nairne, Lotte Johnson (eds.), Basquiat: Boom for Real, Munich, London, New York: Schirn Kunsthalle Frankfurt, 2020.

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Henri Michaux - Untitled, 1961

Antoine Pevsner - Composition, 1923

The oriental tradition applied calligraphic techniques, also by throwing ink on paper. Similar techniques were later developed by the artists of abstract expressionism, creating abstract or amorphous paintings and drawings, following the long tradition of abstraction in modern art.

I was using duct tape as masking tape to redecorate my boat. The boat paint left traces on the duct tape. Removing the duct tape, as I was completing the task, I applied the technique of throwing painted duct tape, as if throwing a rope to tie a boat, to create a sense of movement, in an experimental and surrealist non-representational composition that takes by surprise.

I observed that the painted duct tape was hardened and sculptural cavities were created, because of the change of the material during painting and the process of masking the boat's corners. This observation helped me to see paint as raw material, therefore I had no reason to treat it differently than any other material.

SAMO was Jean-Michel Basquiat's

artistic pseudonym for some time.

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Drawing by touch, without looking at the drawn subject, activated the visualising potential of the physical sensation. This activity prompted a rather sculptural result. Mixed media drawings by touch - oil stick, coloured pencils and ink on paper, A2, 2010.

The exploration of creating an image in movement, when it was realised, coincided with my evocation of the image in movement. Mixed media life drawings of a costumed models' moving group - charcoal, oil stick, graphite and chalk on paper, A1x2, 2011.

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Zoe Panagiota (aka Betty) Nigianni - Debris (Enlightenment Panel no 2) - 2024