Artworks

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Blue

Water is an allegory, a place of regeneration and transformation. It reflects the human will to escape the noise of the world. Living in a country surrounded by water, I had the opportunity to spend several months near the sea. This sense of endless summer has marked me as an individual. The body under the surface is fluid, serene, in constant transformation, it gives a sensation of baptism. My swimmers are between two worlds, surface and bottom, life and death. There, on the borders between darkness and light, lies the meaning.

“The Breath of Water”

By Giorgos Mylonas, Art Historian

In the works of Katerina Hatzi, the body is nothing more than a trace of light suspended between sky and seabed. There is no “above” or “below”; only a continuous vibration, a breath diffused within the liquid element. Water embraces the figures not as background, but as memory, a sensory, dermal memory, as if each movement and thought is imprinted upon its very surface. Gesture, posture, the touch between bodies, as in the work where two figures unite almost silently, within a transparent embrace, are not depicted to express emotion, but to affirm presence within a different state of being: a state of submersion, suspension, return. In this space, the viewer’s gaze becomes that of a submerged witness. In another composition, a youthful body swims alone, arms outstretched in a posture reminiscent of crucifixion or elevation. Yet there is no drama, only relief, as if surrendered to something that needs no explanation. Elsewhere, feet that cross the dark depths take on an almost erotic delicacy, as if light desperately seeks to touch and hold them before they vanish. These works, at first glance evocative of photographic realism, transform the longer one looks. It is not the figures that maintain their clarity, it is the water itself that gains character: becoming a dream surface, a golden, living and unpredictable plain, where the body ceases to have boundaries and becomes light. “The Wondrous Waters” is not merely a title. It is a return, like the sigh that follows the unexpected gift of survival. In Hatzi’s work, water becomes a form of mystagogy, a continuous cycle of loss and rediscovery of the self. Just as in Kalvos, where nature is not described but lived as spiritual upheaval, so too here, the dive is not an activity; it is communion. The painting does not depict, but invites. It invites the viewer to feel once again the world’s first touch upon their skin; to remember that the origin of life always lies in a shiver, the shiver of water: wondrous, true, immeasurable.

“The Wondrous Waters”

By Dina Adamopoulou Historian, Archivist President of the Board, G.S.A/Historical Archive Museum of Hydra

This July, the Historical Archive – Museum of Hydra (G.S.A/HAMH) is delighted to host the exhibition of the distinguished visual artist Katerina Hatzi, titled “The Wondrous Waters.” The choice of our Museum as the venue for this exhibition is no coincidence: “The Wondrous Waters” resonates with the maritime identity of Hydra, with its nautical memories, the archives of journeys and travelers from the past, and all those routes that shaped history. On an island where the sea has determined the character and fate of its people, Hatzi’s painting becomes a contemporary visual reading of this profound relationship. Her works are organically integrated into our space, creating a deep dialogue between the present of artistic creation and the past preserved in the displays and records of Historical Archive Museum of Hydra. Water, the protagonist in Katerina Hatzi’s works, functions as a multifaceted symbol: it is both a vessel of memory and a substance both tangible and intangible, much like the history we project within our walls. The bathers depicted within turquoise and aquamarine expanses are not merely figures in landscapes, but transitional presences: bodies floating between light and silence, between gravity and fluidity. They resemble fleeting forms emerging from a collective subconscious. Hatzi’s sea is a continuous rendering of blue in all its spectrums, at times serene, at others evocative, becoming the mirror of an interior summer landscape, a shared memory. Katerina Hatzi does not seek description, but sensation. Her images transmit the imprint of touch, the transparency of sight, the memory of sunlight on skin. The Wondrous Waters is ultimately a hymn to light and to the body. This fluidity of human experience meets the fixed time of the Museum, inviting the viewer to dive, both into the image and into historical awareness. In the end, by drawing up the innocence of summer, the calm of touch, the gleam of light on skin, this exhibition reminds us that art, like history, is never detached from the space that hosts it. On the contrary, it finds there the field in which to regain meaning, like a quiet sea, beneath the surface of which something always unexpected lies in wait.

Light Catcher, oil on linen, 50 X 80 cm
Bleu Majorelleoil on linen100 x 200cm (100x100cm X 2)

Bleu Majorelle

oil on linen

100 x 200cm (100x100cm X 2)

Lonely Swimmer         oil on Canvas Textured paper23,5 x 32,5 cm X 6

Lonely Swimmer

oil on Canvas Textured paper

23,5 x 32,5 cm X 6