Fresh Fish: Exhibition Text

By Maria Efstathiou

Fresh Fish, the latest series of three-dimensional works by visual artist PASHIAS, emerges as a continuation to his recent one-hour in-situ live performance Ω3, presented on May 27th at Eleftherias Square in the framework of Nicosia International Festival 2023. In the somewhat stoic landscape of Cyprus, where self-awareness and self-sarcasm are scarce commodities, PASHIAS took himself as seriously as the very perimeter of his surroundings. The result of his creative endeavour is an intriguing body of works bound to make the viewer look twice.

Within a realm where the local artistic scene is traditionally called to tackle weighty subjects with an equal measure of gravity, and humour is often perceived as a liability, PASHIAS transformed into a mermaid and exposed himself to a relatively conservative physical and digital audience, at Eleftherias Square: a meeting point of people from all walks. This transformative act found him crawling over scorching cement for approximately 300 meters, overcoming various obstacles, doing so for one hour. This physically demanding feat, whilst artistically profound, was also exceptionally gratifying, filling both the artist and his team with childlike joy. The work carries in its title a subtle reference to contemporary trends of dietary supplement use, a healthy lifestyle sought after through off-the-shelf manufactured items. A common notion, nowadays, which suggests that health can be packaged and universally prescribed in bottles and a reference to the artistic act as a consumable product prescribed for the wellness of our spirit and soul.

The unconventional nature of the performance carried a significant message. Ω3, as one might imagine from the description above, served as a poignant commentary on diversity and social inclusion. By defying conventional forms and embracing humour into a ‘heavy’ context, PASHIAS succeeded in engaging with urgent societal issues, whilst challenging the prevailing norms of Cypriot culture.

The artistic culmination of the aforementioned performance laid foundation for the series of works presented herein. PASHIAS' exhibition is aptly entitled Fresh Fish, alluding to the notion of the ‘new’ and the ‘now’ in need of imminent consumption and reconfiguration. This collection encompasses a range of mediums: cast-created doll-like figurines affixed to rocks, ceramics referring to the Cycladic culture, printed mermaid-figure pillows, metallic platters embellished with hybrid human-fish forms and an enigmatic fishtail trophy, seemingly emerging from or submerging into the floor surface.

The presentation of these works within the Fresh Fish exhibition follows a circular narrative structure, offering viewers the freedom to engage with its thematic plinths in a clockwise or anti-clockwise sequence. However, a starting point would be the childlike elements represented in the mermaid figurines labeled Zaha #1 - #5. Needless to point out, for any Cypriot who connotes back to Eleftherias Square, recently renovated according to the design of famed architect Zaha Hadid, the title of this work refers to the benches - sea rocks in this case - often described by the public as alien spaceships. From there, the narrative evolves to encompass the Fisherman #1 - #5 series, which prominently displays the familiar Cycladic fresco imagery of the fisherman from Santorini, symbolising the island's maritime culture, but rendered in the distinctive ironic style of PASHIAS. While this series may appear as the most formal, as it is a recognisable object with a recognisable subject worthy of an exhibition, a closer inspection reveals the artist's playful reinterpretation of the ancient Greek figure, literally and metaphorically broken and glued back together, infused with a touch of humour.

The pillow series Ω #1 - #10 is a direct extension from the initial Ω3 performance, featuring photographs of the merman in the very context of its execution, with glimpses of its surroundings, lighting and audience. Taking pillows out of their utilitarian context and placing them on exhibition plinths is a statement in itself, extending the product-like dimension of art, to be commercial and comfortable. The journey culminates with the series Fresh Fish #1 - #5. The hybrid half-man-half-eaten-fish figure is saturated with self-sarcasm, an absence of self-importance and a clear embrace of kitsch aesthetics. Indeed, life and death - as depicted in the fish bones, as well as art in this case, gain accessibility when interwoven with humour. PASHIAS draws inspiration from myths, mythologies and the contemporary everyday life, to skillfully and unapologetically synthesize playful elements with his provocations to Cypriot cultural norms. This fusion yields a captivating series of works showcased here in a full circle and in their full splendour.

In understanding or ‘reading’ this body of work, which spans the breadth of PASHIAS' artistic practice, the audience is not necessarily asked to delve into the realm of contemporary and postmodern art discourses, but is instead encouraged to leave behind any inhibitions, observe with a discerning eye and allow laughter to permeate their engagement. Through these ‘fresh’ expressions, the artist pushes us to discover facets of ourselves and, in the process, carve out space for artistic practices that prioritise enjoyment over weightiness, mirth over solemnity.

PASHIAS invites us to celebrate the ‘delightful’ and the ‘unconventional’ in our own lives.

Exploring the 'unalike' and the 'Other': Interview by journalist Apostolis Kouroupakis (AK.) of PASHIAS (P.)

Kathimerini Newspaper, 15/10/23 - Read Article (GR)

AK: Tell me about "Fresh Fish", and why this title?

P: The exhibition is presented as the development of my live performance "Ω3" that took place last May at Eleftherias Square, as part of Nicosia International Festival. This is a common practice of mine. I present something live and then develop it into its exhibitory format. "Fresh Fish" is structured as a circle. Its a large-scale roundabout, and each podium hosts one of the four different installations. I'm literally presenting the life cycle of this creature. From the beginning, I wanted to make use of the notions and imagery embedded within Eleftherias Square, which - whether we like it or not - is an iconic landmark. It hasn't been my intention, of course, to criticise the Square, I just attempted to make use of what is already there. My action does not start out to be political, I'm content when my art relates to the community, when it's discussed, because that's what art should do, open up dialogues. As for the title, I have always said that my primary goal is for my work to be fresh, not good, not bad, not necessarily conversing with trending socio-political issues of our time, at least it should be fresh.

AK: The reactions caused by "Ω3", do they concern you creatively?

P: Yes, they do concern me, but I never start with the intention of provoking. Here, I have to tell you, that in Cyprus, art - specifically public art - does not usually cause a sensation, when there is no element of provocation then it's not discussed, because it is not part of our common vocabulary. Personally, I consider the mermaid an 'innocent' symbol, yet it appears that a part of the Cypriot public had a different opinion. And from the mermaid, the discussion moved on to the whole Square, the benches, and from there it evolved into the 'other', the immigrant, the one who ultimately travels through water to find a better life. Therefore, we are talking about a chain reaction to issues that are upsetting to some people, I think, however, that "Ω3" has achieved its purpose.

AK: Did you have the exhibition development in mind during the preparation/presentation of your performance?

P: Yes, and the reason is the country we live in. From the beginning of my practice, I felt the need to communicate to the decision makers of the cultural sector, but also the audience, that performance art is one of the 'fine arts', it's not necessarily the same as theatre, dance or music. It may be influenced from these fields, and have a multitude of cross-overs, but it's still an art format that is documented and exhibited, like all other art mediums. Therefore, I always try to situate performance art in a dimension beyond the ephemeral. In this way, we can claim more space in the history of art in Cyprus. The exhibitory development is an event that happens and has a duration of several days or even months, compared to performance art which belongs to only one moment. I am attempting to extend and multiply the impact of my work.

AK: Is the development of the live work into an object influenced by the reactions of the audience that attended the performance?

P: Of course, hence it usually happens after the live work. I always have ideas, pieces of imagery, when I think about the live gesture, so I know where it might end up. Yet, after I experience the live work, which is unique and can not be repeated, I can definitely crystallize it more clearly and exhibit it, now, into an object.

AK: In "Ω3", I get the feeling that you were talking about the acceptance of the 'Other', the foreign, the different, the strange. What does this look like in the "Fresh Fish" exhibition?

P: In the exhibition, there is a prominent element of repetition, there is the figure, the human body, my own body - which is always my primary material - that is repeated multiple times. Through this repetition, I have attemtpted to discover or prove the figure's uniqueness, in this case, of a hybrid creature that is familiar, different, similar, that is us, all of us.

There's no parthenogenesis in art, only fresh perspectives: Article by journalist Maria Panagiotou

Phileleftheros Newspaper, 22/10/23 - Read Article (GR)

The artist welcomes us into his studio, on the occasion of his exhibition "Fresh Fish" and reveals how performance art and sculptural practices are interconnected.

The innovative live performance "Ω3" presented last May at Eleftherias Square, as part of the Nicosia International Festival 2023, pleasantly surprised the diverse audience members attending it. Visual artist PASHIAS transformed into a mermaid-merman and crawled for an hour on the concrete Square, ending up in its natural element, in the waters of a marble fountain. The exhibition "Fresh Fish", currently on show at the Nicosia Municipal Theatre, is a continuation of this work.

We met with the artist at his studio in Nicosia, joined by exhibition curator Maria Efstathiou, and had the opportunity to see his three-dimensional works in progress. In the series entitled "Fisherman #1 - #5", he appears in Nike flip flops and sunglasses on ceramic pots, in a representation reminiscent of the ancient Cycladic fresco of the fisherman from Akrotiri in Santorini. Maria Efstathiou states that humour, irony and self-sarcasm are characteristic elements of the artist's work: "While this series may appear as the most formal, as it is a recognisable object with a recognisable subject worthy of an exhibition, a closer inspection reveals the artist's playful reinterpretation of the ancient Greek figure, literally and metaphorically broken and glued back together, infused with a touch of humour. The pillow series "Ω #1 - #10" is a direct extension from the initial "Ω3" performance, featuring photographs of the merman in the very context of its execution, with glimpses of its surroundings, lighting and audience. Taking pillows out of their utilitarian context and placing them on exhibition plinths is a statement in itself, extending the product-like dimension of art, to be commercial and comfortable. The journey culminates with the series "Fresh Fish #1 - #5". The hybrid half-man-half-eaten-fish figure is saturated with self-sarcasm, an absence of self-importance and a clear embrace of kitsch aesthetics. Indeed, life and death - as depicted in the fish bones, as well as art in this case, gain accessibility when interwoven with humour."

The artist himself explains that the exhibition is a continuation of the dialogue that opened up with the live performance "Ω3". "It's a dialogue on the notion of identity and the right to be free, to be as you choose, and for no one to interfere with that. I used the symbol of the mermaid, the merman, this creature that has direct associations with gender. I am a man, I have a moustache, and I'm attempting to define my social 'location' through my fishtail, as a characteristic that confuses, reinforces and reveals my identity. The motive behind this gesture is that I live in an environment that refuses to assimilate me, does not let me move freely as a citizen, therefore, I'm reacting through my artistic practice. I feel that it's a personal urgency that a part of society identifies with, as others have the same needs as me."

In both his current exhibition and previous ones, PASHIAS draws inspiration from ancient history and mythology. A large part of his practice, he comments, is a dialogue with the past. "I'm interested in looking backwards to find stimuli, to understand who we are and where we might be going. I don't fixate on the past, but I look for ways to understand the present and move forward. Therefore, the body and the exhibit, as well as the mythological -archaeological references are often at the centre of my thinking process. The mermaid is one of these symbols. Also, it's not a symbol exclusively associated with the female gender, as perhaps many perceive it, we have the historical examples of mermen Glaucus and Triton."

Eventhough he often draws inspiration from history and archaeology, in his works he conveys meanings in a new, contemporary and fresh way, as the title of his current exhibition, "Fresh Fish", suggests. "There's no parthenogenesis in art, only fresh perspectives. I have always considered ancient Greek mythology as the most ideal example of what performance art is all about. All the images in mythology take on meaning through the body, the object and the action", he says.

In 2017, the artist collaborated in Athens with the famous performance artist Marina Abramović. I ask him what he keeps from this collaboration and if he applies some of her methods. "Through our collaboration I have learned a lot about ‘being’ inside space and time, whilst executing long-durational live performances. Any artwork of mine that specifically requires physical endurance, carries over elements from my collaboration with Abramović."

When we experience one of his performance artworks, we usually don't suspect how much work he has done in preparation. He gives us the example of "Ω3" that he presented at Eleftherias Square. "This particular piece required intense physical effort, stamina and concentration. I had to devote a large part of my life for several months to what may look on the surface as an easy task. Preparation included nutrition planning, exercise, meditation and physiotherapy."

I wonder, the body’s exposure to the public, does it make him uncomfortable at times? He replies that, after 12 years of practice in this medium, he has overcome the issue of exposure. "In this 'superhuman' version of myself, there is no room left for any fear. It's something I chose to do. The adrenaline of action, the survival instinct, overcome any anxiety."

The uniqueness of a 'fish out of water': Article by journalist Christothea Iacovou

"Parathyro" for Politis Newspaper, 22/10/23 - Read Article (GR)

Half man, half fish, the artist PASHIAS develops his inventive sculptural practice and explores the 'unalike', through mythical figures in a contemporary portrayal, for his exhibition "Fresh Fish", the evolution of live performance "Ω3" that took place at Eleftherias Square last May, in the framework of Nicosia International Festival. The body takes shape in multiplicity to prove its uniqueness, as the fish out of water 'finds' itself exposed, reconfigured, divided, broken and in constant transition. With references to Cycladic frescoes, futuristic architectural structures, toy dolls and objects of everyday use or consumption, PASHIAS talks to us about his approach to symbolism, materialities and the process of combining performance art with exhibition formats.

According to the artist, the idea behind "Ω3" and "Fresh Fish" came about three years ago, when he returned to the cultural scene of Cyprus. He says that he seeks to make the presence of himself, of the artwork or the contested notions in play, more public and visible, as in exhibitions, galleries, museums and other cultural venues, art's impact may be limited in terms of space and audience. His previous action took place in the form of public performance "DAME" for international festivel "Buffer Fringe 2021", in which he presented himself planted in the ground next to a palm tree. "Ω3" is the public performance that follows "DAME", as we move from the soil ("DAME") to the water ("Ω3") and continue from the symbol of the palm tree to the symbol of the fish, and in extension the mermaid.

The main image of this particular action is the mermaid, discussing this he said that "it's a unique symbol found in ancient Greek mythology, in which it's already of no clear gender. It encompasses all identities and genders, although in contemporary times it has been predominantly associated with the female presence or feminine characteristics. Yet, Triton, Glaucus and even Poseidon himself have been historically depicted as half fish." He notes, however, that the mermaid points to something peculiar, foreign and perhaps 'alien'. It's a migrant body traveling through water. In semiotics, it appears to be even closer to Eleftherias Square - where the action began - than we think. "Eleftherias Square is a recently concluded development that has been viewed by many as foreign, out of place and 'alien'. It, too, is of hybrid nature. It was not selected as the location of "Ω3" only because it's an accessible and public space, but also because conceptually Eleftherias Square itself is a mermaid".

"The exhibitory dimension of live performance "Ω3" is entitled "Fresh Fish", curated by Maria Efstathiou, presenting a circle, the circle of life for this hybrid creature trying to find itself and survive in our society," he says. PASHIAS mentions that there are many elements of his own personality embedded within the exhibition, such as childlike humour and playful self-sarcasm, conveyed in his works through many layers, processes and materialiries - sculpture, ceramics, cast figures attached to stone, pillows and objects of everyday use. "I try to reconfigure all of these elements into a narrative that connects the possible variations of our hybrid creature. The creature is observed in repetition, that is, there are multiples of it, as one would find in a souvenir shop near the Acropolis or in the old town of Nicosia. Therefore, through multiplicity, the creature's own attempt to find its uniqueness is brought forth."

In some of the artworks, he references futuristic elements of architecture that are presented through miniatures of the benches at Eleftherias Square. Talking about the benches, he says that it is "a huge stone, which relates to the sea, a spaceship or an egg-shaped volume, with which I entered into a dialogue through live presence and my body in the performance "Ω3". Now, I'm coming in touch with it again through the sculptural approach, resulting into an installation or a complete exhibition". The artist also talks about a way of reflecting on the economic value of art through the creation of pillows. "The pillow", he says, "can be purchased as an artefact, placed on the wall as a work of art or on a sofa in its utilitarian function. It's comfortable and its purpose it to provide relaxation, you lie down on it and assimilate it with your body. Should art do and be the same? Conceptually, the economic and the social dimensions of art, are enhanced through the multiple versions of the mermaid's body presented in the exhibition". PASHIAS points out that in "Fresh Fish" there is only one singular portayal of himself with legs, with reference to the Cycladic civilization, vividly present in his own childhood memories. "A Cycladic fresco image from Santorini depicting the fisherman, in which the human figure, standing on his own two feet, attacks and conquers the symbol of the fish".

PASHIAS also discusses the connection of performance art and art exhibitions. "I explore the live relation of my body to audience members though performance art, yet, I always attempt to investigate this experiencethrough all mediums present in my practice, such as photography, video, sculpture and installation. I enhance and extend my presence through exhibitory formats, or through other curatorial approaches, such as text, collaborations with art historians and cultural practicioners. In this way, the live work can gain more influence, have a greater impact and multiply the effect of notions and images that it bears at its core", he explains.

As for Cyprus, he says that the presence of performance art should become more significant, "because it's not something that happens often and we're not exactly familiar or accustomed to this particular practice. Of course, due to its ephemeral nature, it often doesn't get enough attention. I always attempt to present or develop its thematic context into an exhibition, so that the presence of this particular effort can become solid, gain space and duration, have a more tangible effect". In conclusion, PASHIAS mentions that through his work he seeks to find alternative ways of perceiving our present. "I attempt to confront social trauma, a personal responsibility, our ‘place’ in society, through images, symbols and notions that are specific, yet universal,contemporary, yet rooted in our history", he says.

Fresh Fish: Solo exhibition by visual artist PASHIAS

Press Release, October - 2023

Always with a fresh perspective, visual artist PASHIAS returns to the foyer of Nicosia Municipal Theatre to present solo exhibition "Fresh Fish", opening on Thursday 26th of October at 19:00. Half human, half fish, the artist unfolds his inventive sculptural practice to explore the 'unalike' through mythical figures in a contemporary portrayal. The body is repeated, taking shape in multiplicity, to prove its uniqueness. The out-of-place fish ‘finds’ itself - on display, reconfigured, divided, broken, in constant transition. With references to Cycladic frescoes, futuristic architectural structures, toy dolls and objects of everyday use or consumption, PASHIAS composes a cultural tableau of the society we all inhabit, of the water we all swim in.

The exhibition "Fresh Fish" is presented as the continuation of live performance "Ω3" that took place at Eleftherias Square this past May, in the frame of Nicosia International Festival. Stirring impressions and reactions, the creature and its fishtail crawled for one hour on the concrete floor towards its natural element, ending up in Zaha Hadid's marble fountain of water. "Ω3" attracted audience members and passersby, was documented by personal mobile phones and the mass media, and was discussed with praise and criticism. "Proving - at last - that yes, harmonious coexistence with 'the other' may not be so dangerous, painful or forbidding. That social inclusion, interculturalism and acceptance of diversity may not be an unattainable - for us - dream." (G. Mourettou, AlphaNews)

Opening: Thursday, 26th of October, 19:00

Duration: 27th of October - 19th of November, Mon. - Fri., 10:00 - 13:00 + 1 hour before each scheduled show 

Curation: Maria Efstathiou

Organisation: Nicosia International Festival

Sponsors: Laminam - Superior Natural Surfaces, CIP - Citizens In Power

* Nicosia Municipal Theatre / 4 Mousiou Street - 1097 / Nicosia