Untitled 18511 Sculpture

Antonia Papatzanaki is a renowned Greek artist who lives and works in NYC. She is known for her light-sculptures exploring the material properties, formal qualities, and conceptual intricacies of light, and her constant interest in into the structure and nature of reality. She was educated in the Athens School of Fine Arts, the Vienna Hochschule für Angewandte Kunst, and acquired her MFA from Pratt Institute in NY. Papatzanaki is the recipient of many prestigious awards in addition to winning competitions for the creation of public art. Papatzanaki has exhibited widely — notable among her many solo exhibitions are Thank you for My Beaths, selected bus stop screens, Manhattan, New York, 2021; Microscopies, Consulate General of Greece in New York, 2019; Cellular, Herakleidon Museum, Athens, Greece, 2019; Photometries, Municipal Art Gallery of Chania, 2018; Stratifications, John Jay College of Criminal Justice, NYC, 2016; Refractions, Ekfrasi-Υianna Grammatopoulou, Athens, 2013; Robust Matter and Image, Museum of Contemporary Art of Crete, Rethymnon, 2010; etc. She has also participated in numerous group exhibitions in Europe, Asia, and the United States, including Art Dagao 1, Chengde, China, 2019-2020; Transplants: Greek Diaspora Artists, John Jay College, NYC, 2018; The Muses Project, A Dialogue between Art and Science, The House of Cyprus, Athens, 2017; The Right to be Human, State Museum of Contemporary Art, Thessaloniki, 2017; Whispers, Museum of Contemporary Art of Crete, Rethymnon, 2016; History-Irony, Vorres Museum, Athens, 2015; Harmony, 22nd Seoul International Art Festival, Chosunilbo Museum, South Korea, 2014; New: Illusion or Reality, 4th Biennial, Tashkent, 2007; and Artistic Fragments, Katonah Museum of Art, Katonah, New York 2005; etc. Her work has been acquired by the National Museum of Contemporary Art; the Copelouzos family Collection; the Vorres Museum; the Museum of Contemporary Art of Crete; the American College of Greece; and the Municipal Art Gallery of Chania. More than 170 critical analyses, articles, and reviews of Papatzanaki’s work appear in books, catalogues, newspapers, and magazines