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Art works by theme: 1: Free grazing, 2: aquarium, 3: wine and spirits.

Please click on the images to view them in bigger size. Copyright art and photos © Fryni Mouzakitou




1964 Born in Athens, Greece



1982-1987 Athens Polytechnic School -Fine Arts, Athens, Greece. Professors: E. Dekoulakos, D. Mytaras, M. Lambraki, Har. Mytara.

1987-1988 Ecole Des Beaux-Arts Des Bruxelles, Belgium

1989-1991 Royal CoIlege of Art, London. Degree: M.A. in painting (thesis subject: "Gothic Art and its influence on the Expressionistic Movement in the early 20th century").

1991-1992 Computer graphics -R.C.A., London, UK


Group shows

1990  Neue Malerei der Dozenten und Studenten des R.C.A. Galerie zur Alten Deutschen Schule, Thun, Switzerland.

1991  Mc Lennan Prize Exhibition, H. Moore Gallery, London, 6th International Contemporary Art Fair, Olympia, London. R.C.A. Graduates, Gulbekian Gallery, London, UK.

1995  IXTYC, Pierrides Foundation, Mersovo - Cyprus - Athens. ABSOLUT VODKA, Pierrides Foundadon, Athens, ARCO Art Fair, Ileana Tounta Contemporary Art Center, Madrid, Spain.

1996  RIPA Art Fair, Rome, Italy, ART ATHINA 4, Athens, Greece.

1997  Salon De Montrouge, Paris, France, VAKHIA, Group show, curator A. Schena.

1998 ARCO Art Fair, Ileana Tounta Contemporary Art Center, Madrid, Spain.


Individual shows

1995  Ileana Tounta Contemporary Art Center, Athens, Greece.

1997  "OINOPNEVMATA", Athens, Greece.





free grazing

My work is the outcome and expression  of a need to understand the experience of growing up. Setting out from memories of childhood - such as on white dies - I move ~ through the presentation of an old white silk nightdress, to an imprint of the adolescent awareness of femininity.

If the progression towards adulthood presupposes sacrificing a childlike quality and coming abruptly to earth in harsh reality, then there is always the escape towards love - love in which our true transformation takes place and in which we make the transition from the pink of adolescence to the earthy red of our true being and freedom.

What I wanted to do, then, was to present in visual form a progression which, although personal, is also common to all of us; I wanted to make an opening in the direction of the viewer which could be perceived through the world of sensitivity and comprehension.

The encounter in my work between photography, painting and sculpture is only of interest to me if despite their morphological differences, those forms of expression can function in the same unit, each drawing on the conceptual codes of the other. The mechanism by which I organize space creates a notional itinerary with shifting meshes in which one work approaches the other.



I have always been fascinated by the aesthetics of the interiors of the James Bond films made during the Sixties and Seventies, in which huge aquariums lent the space an air of mystery a sense of danger paralleled by a feeling of majesty similar to that created by the space of churches.

Inherent in the aquarium is an element of kitsch, and also of absolute drama and paradox, since it is a miniature version of the seabed which, detached from its natural origins in the sea, functions as an ornamental object, and exhibit. It occurred to me that works of art follow a similar course: detached from the current reality, they function - at less than their full capacity- as harmless exhibits in the halls of galleries and museums so as to entertain a minority of art lovers.

In persevering with a framework which is both aesthetic and ornamental (and, by extension, intellectual and emotional), I went ahead with the production of a series of images of the aquarium in which I retained the coolness of construction dictated to me by the theme itself. Taking the unity of form and content as my criterion, I thus borrowed material from the aquarium, such as the glass, the real fish, the artificial lighting and the use of decorative photographic material about aquariums.


wine and spirits

The point of reference of these works is the reconstruction of a series of successive movements which are connected, in terms of their subject-matter, with wine. Here, then, we have two units of work in which wine and grapes coexist with sculptural forms representing human members (hands and feet) in multiple copies.

The first unit records the successive movements of a drinker's hands when intoxication has caused him to lose motor control.

The second unit concerns the 'dancing" of the feet during the ritual of trampling  the grapes. The relationship between the human body and wine is seen here as reciprocal: wine has the effect of stimulating the body and the spirit, while it is traditional for the body to play a central role in creating the wine.

My attempts to freeze time and stabilize the image are helped by the use of polyester, a material whose capacity to bear a charge of energy I exploit.