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Eozen AgopianJeans and Love2021
2021
$2,000
£1,524.59
€1,741.73
CA$2,814.28
A$3,082.51
CHF 1,622.94
MX$36,788.75
NOK 20,682.95
SEK 18,907.33
DKK 13,015.40
About the Item
n her signature pieces, Agopian carefully threads onto the painted canvas and combines recycled fabric with paint to create unique, almost cubist multimedia assemblages. These works range in size from small, intimate 10 x 8-inch pieces to large, dramatic ones measuring up to 3 x 3 feet, which require months of meticulous stitching. “Thread holds a symbolic meaning for me,” Agopian explains. “As a young girl growing up in Greece, needlework kept us busy in the late afternoons. That was my first experience with canvas, and I was fascinated by the cleanness, vibrancy, and variety of the colors of thread.” She describes her dual love for needle and brush as a balance between something precise and almost Zen, and something explosive and emotional.
Eozen Agopian
About the Artist
Eozen Agopian Born in Athens, Greece, Eozen Agopian earned her BFA from Hunter College, NYC and then her MFA from Pratt Institute in 1993. Of Armenian descent, Agopian’s work has been shown both nationally and internationally across Greece, France, Russia, Italy, Germany, China, and the United States. Among her distinguished solo exhibitions are Overcrossing (2023, High Noon Gallery, NYC) Unfold (2019, Athens), The Fabric of Time (2018, Consulate General of Greece, New York), Persistent Dichotomies (2017, Fox Gallery NYC), Traverse (2015, Eleftheria Tseliou Gallery), and Paintings and Works on Paper (1993, Michael Walls Gallery, New York). In 2019, she was awarded a studio residency on Governors Island and was invited to collaborate with Officinenove in Rome, while also holding a residency at Project Studio PS122 in Manhattan’s Lower East Side.
In her string paintings, Agopian weaves together fragments of canvas, fabric, thread, and paint to create textured, dimensional surfaces. These hybrid works defy fixed spatial logic, suggesting both movement and instability while evoking the layered nature of her personal and cultural experience. Her process is improvisational—part painting, part weaving, part personal archaeology—building and unbuilding layers and narratives in flux. As she has said of her own work, "I know it’s finished when I feel that it exists somewhere in the Universe."
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