{"id":3381,"date":"2024-06-09T07:17:53","date_gmt":"2024-06-09T07:17:53","guid":{"rendered":"https:\/\/liko.foxthemes.me\/?page_id=3381"},"modified":"2026-10-20T21:12:33","modified_gmt":"2026-10-20T19:12:33","slug":"about-me","status":"publish","type":"page","link":"https:\/\/esmeraldakosmatopoulos.com\/fr\/about-me\/","title":{"rendered":"About me | Esmeralda Kosmatopoulos"},"content":{"rendered":"\t\t
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About<\/h1>\n<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Esmeralda Kosmatopoulos, the Greek-French artist living between Cairo and Paris. Working in sculpture, textile, installation and photography, from Egyptian khayamiya to bread masks and sculptures, she explores hybrid identity, mythology and transformation across Mediterranean and Middle Eastern imaginaries.<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Esmeralda Kosmatopoulos (b. 1981, Greece) is a Greek-French multidisciplinary artist living and working between Cairo and Paris. Born in Greece and raised in France, she works across sculpture, installation, textile, photography, video and text. Self-taught, she developed her practice through direct engagement with materials and a series of international residencies. Her work explores hybrid identity, mythology and the body in continual transformation, bringing personal experience into relation with collective memory, historical narratives and the cultural imaginaries of the Mediterranean and the Middle East.
<\/br>\n\nHer work has been presented internationally at institutions including the Institut du Monde Arabe in Paris, Times Art Museum in Beijing, Somerset House in London, La Panac\u00e9e in Montpellier, Mus\u00e9e Zadkine in Paris, Kunsthal Charlottenborg in Copenhagen, K\u00fcnstlerhaus Wien, Kunsthal Aarhus, Palazzo delle Arti Napoli and the Art Museum of the Americas in Washington, D.C.
<\/br>\n\nKosmatopoulos has undertaken residencies at the Boghossian Foundation in Brussels, Townhouse in Cairo and Le 18 in Marrakech. She has received support from organisations including Warehouse421, the Foundation for Contemporary Arts in New York and the European Cultural Foundation.
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As a multicultural artist, I am driven by a desire to locate myself. Through my work, I trace the physical, cultural and spiritual contours of my identity, seeking to understand where I begin, where I end and where I belong. Formed between Eastern and Western Mediterranean imaginaries, my sense of self resists a single origin or stable definition. Rather than reconciling these positions into a coherent whole, I work from the tensions, overlaps and contradictions they produce. This in-between is not a temporary condition to overcome, but the place from which my practice begins.
<\/br>\n\nMy projects may begin with lived experience, a historical figure, a political reality, a landscape or an inherited story. I turn to myth because it allows these singular points of departure to move beyond autobiography or documentation without being reduced to a single explanation. Rather than illustrating existing narratives, I fragment, displace and reactivate their symbols within contemporary contexts. I assemble them into spatial fables in which the story is distributed across objects, images, materials, bodies and architecture. The viewer enters the narrative, moves among its fragments and establishes connections between them. Myth is therefore not simply a subject, but a method for giving form to what cannot be fully explained.
<\/br>\n\nMy visual language draws on sources ranging from ancient Greek imagery and medieval bestiaries to Persian and Ottoman miniatures. I am drawn to the way these traditions compress bodies, landscapes and actions into symbolic forms, allowing scale and perspective to follow meaning rather than realism. Their frontal and simplified visual languages inform the hybrid figures, incomplete metamorphoses, fragmented bodies and suspended gestures that recur throughout my work. These forms can hold several states at once without settling completely into any of them.
<\/br>\n\nMaterial is an active participant rather than a neutral support. I work across sculpture, installation, textile and photography, choosing bread, stone, Khayamiya fabric, glass and found objects for the histories, symbolic associations and physical behaviours they carry. Through assemblage, layering and transformation, matter moves from one state to another. Tears become bread; bread becomes a mask; a lament becomes an architecture; a thread becomes the sea; a myth acquires a body. Meaning emerges through these material passages.
<\/br>\n\nThroughout my practice, the feminine functions less as a subject than as a lens. Rather than attempting to define womanhood, I investigate the myths, projections, rituals and symbolic constructions that continue to shape how bodies are imagined and represented. Mourning women, serpent women, hybrid beings and contemporary Venuses are not offered as fixed archetypes, but as figures through which inherited roles can be inhabited, resisted and rewritten.
<\/br>\n\nAcross these different forms, I am less interested in resolving a narrative than in keeping it active. A body, a material or an inherited symbol can acquire another meaning without losing the traces of what it was. Transformation is not an exceptional event in my practice, but the condition through which stories and forms remain alive.
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Solo & Duo Exhibitions<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Serpents, Jinns, Chimeras and Other Wonders, Galerie Lalalande, Paris, FR (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Veille sur Elles (in dialogue with Val\u00e9rie Giovanni), Casa Donna di a Serra, Ventiseri, FR (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mother!, Galerie Dix9, Paris, FR (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ik-Ho-Rus, Art d'\u00c9gypte, Cairo, EG<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Caressing Walls, Apick Gallery, Turin, IT<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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If Cleopatra's Nose\u2026, Darb 1718, Cairo, EG<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Libro d'Oro, Gallerie delle Prigioni \u2013 Luciano Benetton Collection, Treviso, IT (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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What I Always Wanted to Tell You But Never Dared, Parasol Projects, New York, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fifteen Pairs of Mouths, Mus\u00e9e de l'\u00c9cole des Mines de Paris, Paris, FR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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G\u00f6kzemin, 7th Mardin Biennial, Mardin, TR, curated by \u00c7elenk Bafra (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Mystery of Cleopatra, Institut du Monde Arabe, Paris, FR, curated by Claude Mollard, Christian-Georges Schwentzel (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Cuerpos Desobedientes, Bar\u00f3 Galeria, Majorca, ES, curated by Rolando J. Carmona<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Collecting Policy, Museum der Moderne, Salzburg, AT, curated by Christina Penetsdorfer, Thorsten Sadowsky (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Visions of Ancient Egypt, Sainsbury Centre, Norwich, UK, curated by Ben Hinson, Anna Ferrari (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Le Go\u00fbt des Autres, FRAC Bretagne, Rennes, FR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Cookbook China, Today Art Museum, Beijing, CN, curated by Nicolas Bourriaud, Andrea Petrini (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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24|7, Somerset House, London, UK, curated by Sarah Cook (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Material Insanity, MACAAL, Marrakech, MA, curated by Meriem Berrada, Janine Ga\u00eblle Dieudji (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Xcelerator, Times Art Museum, Beijing, CN, curated by Charles Lindsay, Saoyu Su (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Hooked, King's College Science Gallery, London, UK, curated by Hannah Redler Hawes (catalogue)<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Imagined Homes, Thessaloniki Biennale, Thessaloniki, GR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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3rd Mdina Biennale: The Mediterranean, Mdina, MT<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Awards, Grants & Collections<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Finalist, ADAGP Transverse Grant, Paris, FR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Grant, Foundation for Contemporary Art, New York, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Grant, Foundation for Contemporary Art, New York, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Laureate, New Media Writing Prize, Bournemouth, UK<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Grant, The Jerome Foundation, New York, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Museum der Moderne, Salzburg, AT<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Luciano Benetton Collection, Treviso, IT<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Residencies<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Fondation Boghossian, Brussels, BE<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Townhouse Gallery, Cairo, EG<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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LE18, Marrakech, MA<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n 2018<\/i>\n \n <\/span>\n \n

Chinatown Soup Residency, New York, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\n \n 2017<\/i>\n \n <\/span>\n \n

Kaaf Institute, Tehran, IR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n 2017<\/i>\n \n <\/span>\n \n

Victoria Square Project, Athens, GR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n 2017<\/i>\n \n <\/span>\n \n

Beirut Art Residency, Beirut, LB<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n 2016<\/i>\n \n <\/span>\n \n

MASS MOCA, North Adams, US<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n \n 2016<\/i>\n \n <\/span>\n \n

Kooshk, Tehran, IR<\/h3> <\/div>\n <\/div>\n <\/div>\n\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Studio Notes<\/h2>\n<\/div>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\"Femme<\/span>Why the Breast Keeps Returning<\/span>Esmeralda Kosmatopoulos reflects on why the breast recurs across her sculptures, drawings and textiles, and what it reveals\u2026<\/span><\/a>\"Hay\u0101t<\/span>Thinking Through Khayamiya<\/span>Esmeralda Kosmatopoulos reflects on Egyptian khayamiya textile art, collaboration with artisans and how appliqu\u00e9 became a language for\u2026<\/span><\/a>\"Life<\/span>Thinking Through Bread<\/span>Esmeralda Kosmatopoulos reflects on how bread became a sculptural material in Bake Your Pain, preserving the physical trace\u2026<\/span><\/a>\"Chimera\"<\/span>The More I Work, the Less Human My World Becomes<\/span>Esmeralda Kosmatopoulos reflects on why animals, jinn and hybrid creatures have become central to her increasingly figurative artistic\u2026<\/span><\/a>\"Toutes<\/span>The Day My Work Met Finitude<\/span>Esmeralda Kosmatopoulos reflects on how her father's death in 2023 changed her relationship to time, repetition and the\u2026<\/span><\/a>\"archipeLogos\"<\/span>On the In-Between: Why I Never Let My Work Resolve<\/span>Esmeralda Kosmatopoulos reflects on ambiguity in contemporary art, unfinished meaning and why artworks can remain open between several\u2026<\/span><\/a>\"About<\/span>How Cleopatra Changed My Life<\/span>Esmeralda Kosmatopoulos reflects on meeting Cleopatra in Egypt and recognising her own in-between identity through this unstable historical\u2026<\/span><\/a><\/div>