Christina Kolaiti

This body of research challenges the conflicting landscape of early motherhood, as this is conveyed through social prescriptions, which interpret the body as a metaphor for self-worth and aim at controlling the mother-infant physicality. This norm is in fact experienced through three progressive stages of physical and emotional separation between mother and infant, opposing the fundamental principles of healthy attachment (Bowlby, 1969) and can result in breastfeeding grief, separation anxiety and trauma.

This installation strives towards a natural approach to the mother-infant relationship through physical closeness in both daytime and night-time parenting practices. This reveals the social construct of separateness as a misleading connotation of independence, exposed by the disturbing melancholy of the aloneness of the cherished handmade teddy bear.

This installation was presented at SelfScapes 2021, 26 March-6 June 2021, Dalby Forest, Arts Council England, Forestry Commission.

This project draws metaphorical links between a diagnosable condi:on called Mal de debarquement or (MDDS) -a term referring to nausea experienced during long journeys- and the no:on of self.

Female subjects (who are most likely to be affected by MDDS) have been asked to pose in front of a seascape; the element of water symbolises the journey, which is necessary for the triggering of this condition.

Drawing parallels with the systemic model in psychotherapy according to which the person’s percep:on of self is not formed in solitude but is part of a system or context (Bowen, 1974) the female subjects have been instructed by the photographer to ‘pose as another member of their family’. These re-narra:ons result in portraits where the visual narrative is unclear and confusing as the photographic subject is deprived of a controlled self-representa:on, she instead projects contradictory visual signs that make it difficult to interpret the portrait in a conven:onal way. For instance, a woman on the final days of pregnancy poses as her father; a female subject poses as her mother, wearing her father’s nautical overalls; both embodying and performing what could be perceived as triadic portraits, therefore suggesting a relational and rather metaphorical nausea of self.

This installation piece explores the very first memories and childhood experiences, which shaped an initial perception of identity through rituals and household activities. The mental space between home and self becomes unclear as the physical space that contains the person forms a platform for engagement with activities of self-development and self-preservation, which present a meditative, almost therapeutic character. These performative activities are significant in the shaping the very first sense of self and that of female identity and continue to be performed during the course of adult life. As Butler (2007) suggests gender is performed rather than inherited. 

Home or Four Seasons at 258 βήτα is a recollection of first time memories, experiences and narratives of childhood, attempting to capture the very first fascination of engaging with practices and ideas. Most relate to housekeeping; the folding of the sheets, the preparation of olives and to learn to roll a pair of socks in the shape of a ball, were some of the most enjoyable activities practiced alongside and, in relation to the developing identities of the female korai*.

* Korai is plural for the word kore that means 'young woman' or 'girl' in ancient Greek

[Project collaboration with Jennine Wilson, 2015]

SSW 30 Knots or Boukadoura is a site-specific visual art installation piece, which has been presented alongside, and in collaboration, with Dr Murphy McCaleb's sound piece: Heart of The Matter. This collaboration was presented as part of Selfscapes Event 2; an exhibition and research event that explores artistic dialogue within the narrative of the forest. [Selfscapes: York St John University Catalyst Fund Project, C.Kolaiti Selfscapes research fund co-applicant and co-organiser].

Kolaiti's SSW 30 Knots explores the notion of personal mapping as symbolic landscape. The family album is seen as a metaphor where a dialogue between inherited and attributed self is initiated. An imaginary sailing boat installed in a forest creates a feeling of displacement associated with that experienced during long journeys, relocation and the process of drafting personal maps. The characters featured in the images perform imaginary scenarios influenced by old family photographs; these scenarios are based on the concept of the 'road' as an symbolic notion of selfhood. The concept behind this project has been strongly influenced by Peck's psychoanalytic writings of 1978 and the relationship between personal and collective narrative.

This installation piece has been presented at Dalby Forest as part of a group exhibition which took place in the visitors centre and also, the forest itself between the 22nd June-15th July 2018.

The project was supported by York St John University, Dalby Forest and Forestry Commission England.

This pilot project explores the role of metaphor within the context of narrative healing through a series of creative exchanges with aquatic, hypnotherapy and neurolinguistic practices, practitioners and participants. Working in collaboration with Cath Mather (NHS Trust palliative care therapist at North Tyneside Hospital’s end of life ward and Director of North East Aquatic Therapy); and Nigel Hetherington (Director of the Clinical Hypnotherapy Newcastle, Hypnotherapy and NLP Practice Group), this research project pursues a series of collaborative narrative-based activities based on Kolaiti’s research methodology of ‘photographic re-narration’ (Kolaiti, 2010). These activities will involve interventions, participation, art-making and the definition of new methodologies in the dialogue between art and science, led by floating and guided visualisation.

Link: https://www.evensi.uk/metafora-narratives-floating-guided-visualisation-st-peter-school/291086189

Η Κληρονομιά [On The Accounts of the Deceased] , είναι μια έκθεση φωτογραφίας και ναυτική περφόρμανς που παρουσιάστηκε στις 7 Αυγούστου 2020 στον Λιμενοβραχίονα ΚΕ στο λιμάνι της Αίγινας, σε συνεργασία με το ΝΟΑ Ναυτικό Όμιλο Αίγινας και το York St John University.

Η Κληρονομιά είναι μία παράλληλη έκθεση με την SSW 30 Knots or Boukadoura της Χριστίνας Κολαΐτη που παρουσιάστηκε στο Dalby Forest που βρίσκεται στo North York Moors National Park in North Yorkshireτης Βρετανίας, κατά τη διάρκεια του πρότζεκτ SelfScapes το έτος 2018, μια ομαδική έκθεση υποστηριζόμενη από το York St John University και το Forestry Commission England.

Η Κληρονομιά [On The Accounts of the Deceased] της Χριστίνας Κολαΐτη.

Σύμφωνα με το νόμο του Περιουσιολογίου, όλες οι Ελληνικές οικογένειες πρέπει να δηλώσουν όλα τα πολύτιμα ακίνητα αλλά και αντικείμενα που έχουν στην κατοχή τους, ανάμεσα σε άλλα πίνακες ζωγραφικής, κοσμήματα και οικογενειακά κειμήλια.

Ο σχετικός νόμος υποδεικνύει πως αυτή η διαδικασία καταγραφής των αγαθών είναι βασισμένη στην πολυτιμότητα τους. Ωστόσο, μια τέτοια διεργασία θα μπορούσε να αφορά μια συναισθηματική διαδικασία η οποία διαδικασία δεν συναρτάται με την χρηματική αξία του αντικειμένου αλλά την πολυτιμότητα της κάθε οικογενειακής ιστορίας που συνοδεύει την μη υλική κληρονομιά.

Η φωτογραφική αυτή εγκατάσταση η οποία πραγματοποιήθηκε από παιδιά μαθητές του Ναυτικού Όμιλου ΝΟΑ, αποτελεί μια μεταφορική προσέγγιση στην έννοια της κληρονομιάς μεταβιβάζοντας την από γενιά σε γενιά. Μια τέτοιου είδους συμβολική κληρονομιά δεν αφορά υλικά αγαθά αλλά συνοψίζει τις οικογενειακές παραδόσεις οι οποίες χαρακτηρίζουν τόσο την ατομική όσο και την τοπική ιστορία του νησιού.

Τρἰα πορτραίτα γυναικών τυπωμένα σε πανιά οπτιμιστή, είναι μεγεθύνσεις φωτογραφιών του οικογενειακού άλμπουμ της δημιουργού και εκπροσωπούν τρεις γενιές της ίδιας οικογένειας οι οποίες έζησαν ανάμεσα σε δυο αιώνες στην Αίγινα. Η προγιαγιά γεννημένη το 1902, η γιαγιά το 1922 και η μητέρα το 1946 εξιστορούν την προίκα της οικογενειακής ιστορίας που πέρασε από τη μια γυναίκα στην επόμενη. Παράλληλα, μια άλλη εικαστική εγκατάσταση στο δάσος Dalby της Βρετανίας συνεχίζει αυτό το μονοπάτι προσωπικής ιστορίας, μετατρέποντας τα δέντρα του δάσους σε ιστία παρουσιάζοντας αναπαραστάσεις από οικογενειακές φωτογραφίες σε ναυτικά πανιά, κι έτσι δημιουργώντας μια φανταστική αίσθηση θαλασσινού ταξιδιού στο δάσος.

Η μεταφορική έννοια του προσωπικής κληρονομιάς ή προσωπικής "χαρτογράφησης", προτάθηκε από τον ψυχολόγο Scott Peck το 1974, ως ένας συμβολικός τρόπος που ορίζει την προσωπική μας ιστορία καθορίζοντας τον προσανατολισμό μας στη ζωή, ενώ οπτιμιστής σημαίνει ᾽εκείνος που έχει ελπίδα για το μέλλον᾽. Ο συμβολισμός ετούτος σε συνοχή με την Ελληνική παράδοση του ταξιδιού, του ξενιτεμού και της ναυτικής ζωής αγγίζει εκφάνσεις της νησιώτικης ζωής που είναι ριζωμένες βαθιά στην προσωπική αλλά και τοπική μας ναυτική κληρονομιά.

'Απο στόφα απόκοτη κρατάω θαλασσοφαγωμένων ναυτικών,

[...] να είμαι απλώς αυτό που είχα θελήσει.῾

(Κολαΐτη Π., Σελέστεια)

Ειδικά ευχαριστήρια στο Ναυτικό Όμιλο Αίγινας για τη συνεργασία, τον προπονητή κύριο Βασίλη Ηλιόπουλο που διεύθυνε τα σκάφη και τους μαθητές του Ομίλου που οδήγησαν τους οπτιμιστές κατά τη εκτέλεση της boating performance.

Link: https://www.aeginaportal.gr/politismos/fotografia/28598-ekthesi-fotografias-kai-boating-performance-tis-xristinas-kolaiti-ston-naftiko-omilo-aiginas.html

The project 'Doctoring the evidence' seeks to extend our knowledge base into the international postgraduate research community. This exhibition is the first of a series of travelling exhibitions organized by the All Maps Welcome Postdoctoral Research Group about what a PhD in visual arts may contribute to academia and artistic life. It also provides a base for expanding exchange and discussions around those experiences, connecting to different geographical situations. As the exhibition travels, the stories on the website will become more comprehensive, including those of artists with Doctorates elsewhere whom we invite as guests to exhibit in the show, write down their stories or take part in debates. On each site a theme frames the discussions and contributors will write and deliver papers where possible. It is the group’s intention to use the exhibition to collect and develop knowledge that can be shared on the project website and eventually, a comprehensive publication. 

Appropriately, we start out from where it all begun: in Newcastle. Visitors can enjoy the work and stories of twelve artists who obtained their Doctorates at Northumbria University and who now live and work in ten different cities, in eight countries around the globe. The first show addresses the dispersion of the group and the geographical and socio-political situation in which the artist-researchers now find themselves. 

Participating Artists: Jolande Bosch (NL), Sachiyo Goda (JP), Paul Harvey (GB), Christina Kolaiti (GR/GB), John Lavell (GB/RU), Andrew McNiven (GB/DE), Hiro Oshima (JP), Apichart Pholprasert (TH), Alexandra Rowe (GB), Hadi Shobeirinejad (IR), Poyan Yee (HK) and Guest: Jennine Wilson (GB).

Square Yard Gallery, Newcastle College, 14 Blandford Square, NE1 4HZ, Newcastle-upon-Tyne. Opening Monday March 16, 5pm
Public dialogue Monday March 16, 10am with Dr Andrew McNiven Senior Research Fellow in Visual Cultures, Zeppelin Universität and Dr Jolande Bosch. 

Open from March 17-20, 10-4pm. 
info@allmapswelcome.com | www.allmapswelcome.com

The All Maps Welcome Research Group hosted their second Doctoring the evidence event in The Hague, The Netherlands, on June 23rd from 16.00-18.30h. Four PhD alumni and a doctoral candidate presented their recent work followed by a debate about the effects of the PhD on their artistic, socioeconomic and academic work.  Dr. Florian Cramer chaired this debate.  Location: The Student Hotel The Hague.

Synomilies [trans. Conversations] is an international project collaboration between a UK-based artist and two artists based in Greece. This project was built upon a creative conversation between the written, the visual and the performed word. The project was funded by the Arts Council of England’s International Development Fund, Round 13. Dr. Christina Kolaiti was the lead applicant.

This project took place in Greece between the 5th-10th August 2016. For the duration of the project the three floors and grounds of Markellos Tower of Aegina became transformed into an art-space, accommodating a dialogue between the collaborating artists, the architectural history of the building, local artists and visitors. This initiative presented a range of events including a photography exhibition and art installation, large-scale projections, poetry performance and a public dialogue between the artists.

This initiative took place at a popular venue at the centre of Aegina town during a very busy summer period, engaging a wide range of local artistic and also non-artistic audiences. Further impact was noted through audience participation, project Facebook page and publicity through local media such as Aegina Portal. The scope of the project reached beyond its’ physical location and was reviewed by Athenian arts websites such as Proto Thema.

Collaborating artists:

Dr Christina Kolaiti (UK-based artist)
Photography exhibition entitled: Mal de Debarquement
Video installation entitled: Home or Four Seasons at 258βήτα

Elias Kapantais (artist based in Greece)
Fine art installation entitled: Έσω(-στροφή) [trans. Introspection]

Dr Patricia Kolaiti (artist based in Greece)
Poetry performance entitled: Μολυβένιο Στρατιωτάκι [trans. Toy Soldier]

Guest actor/performer Grigoris Kedrinos