The significance of the artistic value of weaving is also exemplified by the myth of Arachne, whose father, incidentally, was a dyer—hence, the immediate connection to the bright colors in Iliodora Margellos’s sculptures.

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The artist’s work can be seen as an analysis of industrial production versus handicraft; she devised a simplified weaving machine for
wire that evokes the sociohistoric implications associated with the production of hand made objects.

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[…]

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Through these sculptures, Iliodora Margellos revisits, perhaps with a certain irony, minimalist artistic practices using techniques typically ascribed to the feminine sphere. In this way her work broaches subject matters expressed in what has become a canonical text of feminist criticism: “Minimalism and the Rhetoric of Power” by Anna Chave.

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But most of all they tell a story of a person. They speak of her intimate relationship with art, of her personal hands-on engagement with the transformation of materials.

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[…]

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Her sculptures resonated the moment I saw them. They present a series of aesthetic criteria that are articulate and complete: security of expression, complexity and a vigor embracing a bold form. 

More so, they have a visual affirmativeness that is coupled with the ability to convey the implications and the layering of human experience.

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By Paolo Colombo | Athens, Feb. 2016