Natassa Poulantza presents a digital print on archival paper. The work is a photographic image which has been manipulated by the artist and is now composed by vertical strips. The image conveys the atmosphere of a seascape under the water and this may indeed be confirmed by the title of the work which is Britannia wreck.
The work is accompanied by a narrative that was given by the artist:
Conceiving the work in the world of propaganda, provocation and fabricated fake news, we may assume that Prosalentis’s Britannia statue is the sole sculpture that Damien Hirst did not discover, retrieve or present in his latest monumental exhibition with works by the collector Amotan. Despite the fact that the digital work I present consists mainly of photographic material of a professional diver and treasure hunter, I must disclose a mysterious detail: when the underwater antiquities personnel discovered the spot that the professional photographer and experienced diver had indicated to them, the statue was no longer there. No matter how much we enter the world of metaphysics, we could take the risk to assert that we have to do with an amphibious ghost statue which moves with ease in a space time void or hole.
Artists do tell stories and Poulantza seems to wish to communicate hers. It does not matter whether the story corresponds to reality as long as it entails a certain awakening and position in the face of present time and history. Dr. Constantinos V. Proimos
