Celia DASKOPOULOU (1936-2006)
Men and Motorcycles

Exhibition duration: 07.02.20 - 21.03.20

When in 1978 Boulgoura asked Daskopoulou if she
wanted to join the club of greek female artists
with some pretentious amazement Celia replied:
“But I have nothing against men!”



Celia Daskopoulou remained in the history of art "as a woman who paints women, boldly, timely and lonely". By the end of her life in 2006 the artist had produced almost exclusively portraits of women that convey their conventional roles in society or their psychological state.

Daskopoulou's oeuvre was supported and systematically presented in solo exhibitions from 1962 until 2000 in Nees Morfes gallery, Athens. During her lifetime, her work was highly appreciated by public and art critics, who established her as one of the most authentic (female) voices in Greek art history.

In an effort to re-appreciate her work, but also to illuminate it through a new, post-feminist perspective, CAN gallery organises a second solo show of Celia Daskopoulou that presents this time extremely rare works; mostly portraits of men from the 80s.



Bio. Daskopoulou (b.1936, Thessaloniki, Greece) studied at the Athens School of Fine Art on a greek state scholarship and graduated with distinction in 1960. She then moved to Paris in order to pursue free studies in painting. In her first solo show in 1962 her subjects were landscapes, mainly house facades, with extremely vivid colours in an expressionist style. When she returned to Greece from Paris in 1970, her art had shifted dramatically and had become anthropocentric with an emphasis on female figures. Daskopoulou's portraits gradually took a specific form and their facial expressions became overstated, thanks to a deliberately crude and anti-naturalist mask-like style. She often used ironic titles in her works such as Baby Girl, Shy Woman Looking Down, Sex Pussies, The Rivals, etc. “I was making fun of women that wore make up and took too much care of themselves" she will characteristically say in 1982. "These works had a feminist style but at the same time they had something comical." [...] A few years later her work took yet another unexpected turn. Her works depicting women with the unnatural mask of beauty that the male-dominated society has enforced through the various role-models were replaced by a series of increasingly dark portraits, that have a dramatic undertone a result of her experiences and possibly her psychological fluctuations.