Zoe Mpeletzikas (b. 1991, Toronto, Canada) holds a BFA from OCAD University. She is a BMO 1st Art! Invitational Student Competition Nominee. In 2014 Mpeletzikas exhibited at Katharine Mulherin, NO FOUNDATION in Toronto. Mpeletzikas currently lives and works in Toronto, Canada.
The realization of apathy for the ostensible point of interest is what inspires my recent work. Through the observation of the overlooked physical inanimate objects and/or habitual communication employing nonverbal, conscious or unconscious gestures and movements, comes the discovery of entirely new, personal but relatable sense of significance. The visceral way in which I make my work, pertains and is appropriated by the circumstances of the present state of the space my work is presented in. The architecture and layout of the space is important information
to me before I begin to imagine a work. Most of my work is suspended, and is realized through the use of gravity, the language of the materials and the details in the room. In the work I explore the symbolic articulation between different materials. I explore a variety of materials in my work, another constant in my work is the use of yarn and the domestic activities of knitting and crochet. I enjoy the delicate qualities this material conveys, and the language of the domestic. In the past I have created objects which wear the warmth and delicacy of the material well. In more current work I have grappled with these characteristics of the material and the architectural language of the work. My work touches on the idea of time, the time that the knit piece conveys and the image it creates of past or future representation of the current space. The physical object created with the act of knitting is opposing to that of familiar objects produced through these means. Instead of producing utilitarian objects (hats, scarves, mitts, etc.) I produce an absurd function for the pieces I make. The object itself, although created as an art object, becomes secondary to its fulfillment of this unexpected or absurd function, and becomes more of a tool of time telling and investigation into the space it exists in. Using fibres to create beautiful and imagined objects, I can study not only the materiality of such object but also the interruption of autonomous space of which it creates. There is a fragility and ephemeral quality these objects posses that allows for subtlety in my work. Through the combined efforts of the exploration of colour, texture and material I create a language for myself that allows for clarity and understanding of my thoughts.