When I started the MA, I aimed to evolve
my designs to more fluid and curvy shapes.
Eleni Zolia, Ring, 2011, acrylic
sheet
The shape of the car has to do with the aerodynamics and the movement.
As a result, I was for a while driven to make experimentations about mechanisms
for kinetic jewellery.
Eleni Zolia, Handpiece, 2011, acrylic sheet, acrylic tube, brass, ball
bearing
As I was looking for my personal style of
aesthetics, researching about streamline, retrofuturism and futurism, I settled
on the futuristic aspect. I made pieces that are characterised by white, fluid
surfaces. They can be worn, actually positioned on the body, in unfamiliar
ways. Still they remain sculptures even without the wearer.
Eleni Zolia, Hand Sculpture, 2012, polymer clay, electroforming, spray
painted
When I made this piece, biomorphism became
a point of interest and I thought about combining aerodynamics and biomorphism.
Eleni Zolia, Hand sculpture, 2012, Milliput, electroforming, spray paint
Were my objects going to be futuristic
organisms fluidly growing on the body?
Eleni Zolia, Ring, 2012, modelling wax, casting, bronze, spray paint
However, the viewers of my work insisted that my objects resemble to
bones.
Eleni Zolia, model for hand piece, 2012, air drying – air light clay
They were placed on the body like some
kind of additional bones. This was the final key to define my style, what I am
doing, how and for which reason.
