Nana Sachini
Artist's studio

Nana Sachini works with sculpture in the widest sense and perceives the various medias she employs, such as drawing, sculpture, installation and performance, limbs of the same organism.

Studied in Chelsea College of Art and Design, London, UK (MA Master and Postgraduate Diploma in Fine Art) and in School of Fine Arts in Thessaloniki, Greece (BA Hons in Painting). Her work has been exhibited in Greece, UK, Germany, Lebanon and the U.S.A.

She is also a founding member of the artist's group "KangarooCourt".
Currently lives and works in Athens.
Nana Sachini describes how she perceives her studio as a body.

If the artwork is the ultimate tangible result of a series of processes and decisions that depend on who, when, where and how and these are transformed into an artwork, then, the artist’s studio functions as a space-body in which all these processes occur. Then my main question that arises is whether the connection between the studio of the artist and the production of a work can be compared to the analogy of the ‘internal organism’ and its ‘external appearance’.
Note: Here we are not particularly interested in the healthy organism and good looks as valuable traits, since every organism and its exterior have particular characteristics, which even if they present themselves as problematic at first, they ultimately create and provoke something else that is interesting in its own right. During the presentation there will be a tour of the studio, where links will form between how I function within my studio and how the (my) human body works.

into the space-body...

What does ‘storage’ mean and what purpose does the storage of older works serve? Are they for example like accumulated toxins that need to be removed? Is the fat deposit (healthy or not), necessary to hang on to in times of starvation? Or is it just in the way and can cause issues?

Stuff and material that accumulates inside the studio - do they contain any nutritional value? Or are they empty calories? At times, they feed and other times they hinder the procedure of creation.

Where is the heart of the studio? Where is the brain? And where the vital organs? Are they topologically separate, independent?

How do the arteries and the nervous system join together this organism that is the studio?

Does the studio have a subconscious and if so, how does it make itself known?

Does the studio have qualities or history that are inherited by the artist, and if so, what part do they play in the creation process?

When an organ within the studio becomes dysfunctional, does it need to be healed or removed?

How does the topology of the studio lead to solutions, movements, gestures and decisions?

How do external factors that infiltrate the studio/body affect, if at all, the artistic process? A newborn child heard crying. A bomb that goes off in the street. The dead pigeon in the courtyard. The refugees who recently settled in, in the apartment above. The song of a neighbour and the sun casting shadows on the lawn.