At the Wedding Circle, Chippendale
• ▫︎ melletios kyriakidis ▾
▻ ▹ ‣▷ he/him
Melletios Kyriakidis is a contemporary artist based on unceded, Gadigal Country. Since the mid 90's Melletios has exhibited extensively, including shows in London, Beijing, Rome, Hamburg, Melbourne and Sydney. He now displays his work on Large scale Architectural facades, on iconic buildings like the Sydney Opera House.
Melletios Kyriakidis' interdisciplinary work is grounded in the profound consequences of identity and exploration of the political body, immersed in intergenerational, diasporic trauma. It draws on the premise of the disassociated state of Flux and the effects of post-colonial structures.
Expounding on Structuralism, Melletios' work is part performative, part situational, adopting a transdisciplinary framework for his aesthetic. He rejects the contrived legacy, the decorative by-product of the institutional hierarchy.
Presently he is collaborating with others to produce work that involves discourse concerning the frenzied state of affairs that has encompassed the conservative identity of the contemporary epoch.
Photo documentation and the performance of 'Thrills and Spills', with James Gulliver Hancock, 2011.
monaLisa Dust
Dust collected from Room 6
Louvre Paris, August 2006
The increasing digitalisation of our every day has become altered by the appearances of new forms of visual manifestations that do more than provide information but have become autonomous objects that compose our image. In a pervasive fashion, such phenomena – whether they appear on our smartphone, our computers, our enhanced televisions, billboards and advertisements, and many other forms – have taken on their own lives, becoming seemingly autonomous and out of our control.
"What is intriguing and, for some, troubling about these new digital objects is not just that they exist and function without human intervention and input but that we readily accept their presence in our lives."
(Łukasz Mirocha - Theory on Demand # 20The New Aesthetic and Art: Constellations of the Postdigital -2016.
The Dispensary. Sydney 2017
Sydney Opera House - 25th of Jan 2021
•• Decolonise Cyber Discourse ••
"I acknowledge the Gadigal people of the Eora Nation, and all traditional custodians on whose land I occupy. I pay my respects to Elders both past and present, their culture and their continued connection to land and community.
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In Muva we trust 2020 bathed the National Gallery’s iconic façade over eleven nights with mythic ancestral beings and landscapes to show how family and community can together find ways of living at one with the environment. The work was a celebration of Australia’s diverse communities. In Muva we trust depicts a world – both real and imagined – that draws from the artists’ shared Filipino ancestry and close connection to Australia’s LGBTQI+ communities.
'In Muva We Trust' by Club Ate , & TEC.
Enlighten 2020
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White Nights Melbourne - the electric canvas - for Reko Rennie ACMI building Federation square - 2016
Photographic series, prints on cold press cotton rag.
Space3 Gallery Sydney, 2002 and B5 Galleria Rome, 2007
My grandmothers lived with traumatised men. They were violently displaced from the 1922 genocide in Anatolia (Pontos, The Black-sea). My father was born during the Nazi invasion of Greece in 1942 in the small village of Pella. He grew up with his father's trauma of the displacement, dispossession of their land and the murder of his grandparents. My mother lived with her families trauma and their dispossession.
My parents fled to Australia in the 1960s to escape 'the great famine' (Η ΜΕΓΑΛΗ ΠΕΙΝΑ) post-WWII Europe. They came to Australia during 'the white Australian policy.
My sister was the firstborn in a strict Greek-speaking Pontian household, in the inner west of Sydney and fought sexist, racist attitudes and was the bravest person I knew who questioned and stood up for her rights and others on an Island stolen by British Imperialists. A long line of powerful women, who endured the pain of this legacy. I see this in the eyes of those who have experienced displacement, diaspora, genocide under colonial power structures.
Scratch an Aussie and you see intergenerational trauma almost everywhere.
"How much do you love me". my father would say.
"This much". I would reply.
16 channel Installation - cathode ray tube (tv)
B5 galleria Rome 2007
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prints on cold press cotton rag, Space3 Sydney
2002