The Cave of Chiron,2021
Edition for diptyque; curtain of ceramic beads, tin, porcelain.Perfumer: Olivier Pescheux.
Further on, Zoë Paul offers another vision of Greece. Paul draws her inspiration from the iconography of ancient art and Greek mythological scenes.
On a recent visit to the village of Milies in Thessaly she discovered a cave known as the lair of the centaur Chiron, a healer renowned for his wisdom, science, botanical, and medicinal knowledge. The enchanting spirit of the place and spirituality inspired the artist to create The Cave of Chiron: a small curtain made of ceramic beads, forming the shape of a hand, a recurring theme in the artist’s work and a reference to this legendary creature. The hand, like a sacred symbol of caring, love and art, conveys a kindly vision of humanity.
The artist’s primary emotion is fully conveyed by the scent of cypress, fig trees and immortelles released by a porcelain oval hidden in the pewter crown.
The work dialogues with a set of sculptures of body fragments and anthropomorphic vases, placed on wooden pedestals worn by time.
Organic, vibrant and dislocated, these sculptures are doubtless the recollection of a wound soothed by the healing figure of Chiron. Tributes to nature and life, they are also a reflection on the vagaries of time, the sedimentation of history and its traces in the collective memory.
Born in 1987 in London. Lives and works in Athens.
Zoë Paul’s work is rooted in the iconography of ancient art history, and particularly the representation of figures and seeking to understand our human bodies in relation to the space they inhabit.
She uses raw and timeless materials and techniques such as clay, weaving and drawing of which the processes and know-how are deeply rooted in societies and the creations of communities.
Her works, often participatory, such as the great curtains of beads at the boundary between mosaics and pixels, explore our relationship with tradition and our perceptions of history, social ties and the value of an object. Questioning the notions of temporality and private spaces, both architectural and social, her work blurs boundaries between indoors and outdoors, public and private, like the fragile curtains hung at the entrance of Mediterranean homes.
Exploring our relationship between tradition and craft, these works reveal a certain physicality, an attraction to materials and the trace of the artist’s hand.