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Anna D. Christoforidis

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Freeland, WA , U.S.A.
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Anna D. Christoforidis, sculptress, married to Dr Christoforidis, four sons: John, Greg, Alex, and Dimitri.

Born in Thessaloniki, Greece, graduated from 3rd gymnasium for girls, French Lyceum, and Goethe Institut for German language. Studied piano, also English and Italian.

1957 to 1959 she studied drawing with Prof. Lefakis

1959 to 1960 she studied Languages and Drawing in Europe

1961 she went to U.S.A, where she still resides

1965 she received a B.F.A. from O.S.U.

1970 a Master in Sculpture at O.S.U.

1978 to 1981 she studied Glass Blowing at the University of Toledo, OH

1985 to 1986 she learned the technique of paper pulp casting at the Columbus Cultural Center.

She participated in a number of juried shows. Her work is in public display and in private collections in the U.S.A. and in Greece.

Her work can be described as a dynamic play of Geometric and Biomorphic Forms, expressing an existing World, undergoing constant changes. The element of Metamorphosis is emphasized in the rhythmic motion leading to a constant interplay of inside and outside shapes, through stages of abstraction or repetition.

PUBLIC ART COMMISSIONS

"Relief of a Seated Woman" . Museum of the Greek National Banc 1973.

"Girls Band". The Ministry of Culture, Athens 1973.

"Bust of the Director of the Third Gymnasium for Girls". Thessaloniki .The School front .1978.

Bust of Archbishop Leonidas of Thessaloniki. Privet Museum 1979.

"Bust of the Founder of the National Theater of Northern Greece". The Theater Lobby. 1981

"Relief Portrait of the dean of the O.S.U. Medical School, Dr R. Meiling" .Meiling Hall Lobby at O.S.U..1982

"Bust of Dr Zollenger, Chairman of Surgery, O.S.U." The Dept. of Surgery, O.S.U. 1985.

"Action and Overreaction". The Telloglion Museum of the University of Thessaloniki. 1996.

"Statue of Hippocrates" .Hippocrates Plaza, O.S.U. Medical School. 1988.

Conducted, Researched, Planned and Designed the Interior of the Greek Church, Columbus. 1987 to 1990.

"Relief Sculpture". The Greek Orthodox Church.1989 to 1990.

"Statue of Hippocrates". The Hippocrates Amphitheater. NEOUCOM Medical College .1996.

QUOTATIONS FROM CRITICS

Lambrinos Christos. Journalist and Critic. Thessaloniki. April 4.1973. p.2, "Sculpture able to evoke Aesthetic Excitement. ....She is able to speak to the soul of the visitor and evoke his creative senses. All her work abstract and figurative has Unity in concept, a solid idea that gives expression in the Artistic creation. On the other hand, her work shows care for the line, and faith in the message each piece wands to express....Her nudes, are realistic, but they also have a striking boldness and presence in space even though they are usually smaller than Life size.....Expression, Talent, and high level meditation are the most important elements characterizing this Exhibition, one of the best of its kind this season.

Rengos Polyclitos. Professor of Painting. Thessaloniki December 4 1981.p.2,"The Exhibit at ARTS. ....All her Sculptures have a pleasant, playful character, emphasized by exciting colors, and founded on profound knowledge that makes every piece unique.

Haralambidis N. Professor of Art History, Critic. Macedonia. December 6. 1981, "Glass Sculpture. .......The silk surfaces play with negative and positive forms. At the same time, color chosen with particular sensitivity enriches the function of the pieces, adding another optical dimension.

Moutsopoulos N, Professor of Architecture. Critic. Macedonia. December3.1986 p2, "Anna D. Christoforidis. .....The shapes are wavy, sensitive, and follow each other. They work together, or antagonize, and finally synthesize. One can think they have a heartbeat. They are like the faraway memories of the old cell where Nature has drawn her decisions for ever....They are permanent shapes inscribed as circles, squares, or as ideas which also become part of the rectangle. They are, perpetual, showing cosmic, nonrepresentative memories of Life itself. Her bas reliefs feel like the trembling Matter. The colors she uses are indefinite and anonymous, shades which meet, some start as white and methodically work their way to back.