Karolina Krasoulis' exhibition at Kalfayan galleries continues the artist's research on the representation of visual phenomena, which are connected to the mechanisms of memory and language.

The viewer is invited to decipher the 'wish' expressed by each work that balances between the concept of hope and unrealized hope, desire and sense of dissatisfaction, between the present and the future, the real and the metaphysical. Krasouli's 'wishes' sometimes take the form of drawings with colored pencils on paper, while in other cases they are expressed through stitched canvases. The latter are the result of a long process in which the artist prepares the canvas, creates the colors, paints the canvas with oil and gesso, and then artfully stitches it, concealing the seams. The artist ‘molds’ the canvas into shapes that refer to, for example, folded pages of paper, books or envelopes. Her new works capture the multi-layered symbolism of a 'wish', and at the same time are 'open' to interpretation. Roland Barthes in his 'Theory of Texts' considers the text as a constant ‘weaving’ process. Every text is a weaving of earlier references. This 'intertextuality' can also be found in Krasouli's works. In the canvas-works it is expressed through their multilayered format. Krasouli treats and 'folds' the canvas like paper, and then adds elements of writing.

The starting point of the gestural process of writing is the inspiration that Krasouli draws from literature, and more specifically, from poetry, autobiography and literary nonfiction. Sewing, painting, draping of the canvas, patterned motifs and spatial mapping on paper are all contemplative processes.

Through the open-to-interpretation form of the works on canvas and especially through the repetition of motifs and the seriality of the drawings on paper, Krasouli attempts in a way to annihilate the distance between the ‘signifier’ and the ‘signified ‘and to abolish any hierarchy of the individual elements of the works. At the same time, in the new body of work presented at Kalfayan Galleries, the artist addresses the potentially elliptical nature of communication and message transmission. How can the gesture of concealment coexist with the gesture of disclosure, how can author and addressee be the same person, how can a fragment indicate the presence of omissions? The works invoke what Karolina Krasouli calls "decentralized writing" a form of writing on whatever is nearby. Through a process of reading and writing, the artist uncovers a set of mechanisms where meanings and sensations are "rewritten" with the aim to invent a new language between abstraction and representation.