Of Grids and Serpentine Lines
AktuellNowCourtesy Livie Gallery
We are delighted to announce the second solo exhibition by Dimitra Charamandas at our gallery, opening on October 8, 2026. Dimitra Charamandas’ work has been recently on view in solo exhibitions at Musée des beaux-arts de La Chaux-de-Fonds and at Kunstmuseum Solothurn, Switzerland.
The road trip emerges in Dimitra Charamandas’ solo show Of Grids and Serpentine Lines both as subject matter and as method: a way of moving through uncertainty, uncanniness, strangeness and encounter. It belongs to a broader constellation of practices, including walking and other embodied techniques, through which the artist approaches landscapes in their sensory as well as sociopolitical dimensions. Her recent ongoing research trips, including Volcánes, Mujeres y sus Amistades in Latin America in 2024 and KEEPERS – and the Weaving of Bonds in Greece and the Balkans in 2026, further shape these concerns.
The road trip as methodology is particularly evident in Serpentine Road, Invisible Moon, a large-scale painting that draws on motion parallax: the phenomenon in which objects closer to an observer appear to shift across the field of vision more rapidly than those further away. Perception thus becomes inseparable from movement, producing a continuously changing relationship with the landscape. Charamandas translates this perceptual condition into painting through serpentine or tilted lines, a recurring formal language in her work. Patterns appear to come together only to dissolve again, while the sense of motion extends beyond the pictorial frame. Movement becomes a means of tending to a place.
With this movement comes instability: strangeness, uncanniness, even a form of ecognosis, an intuition that one is embedded within systems that exceed conscious knowledge. We are asked to sit behind the wheel with the artist. What lies beyond the next corner remains unknown; we need to trust the process.
The road becomes a kind of strange loop, bending, twisting and tilting while different temporalities coexist. This strangeness is intensified by artificial light and the intensity of green color. Emerging from the experience of driving at night, the colour transforms the landscape, thinning the boundaries between the physical and metaphysical, the earthly and unearthly, the artificial and organic, the visible and the sensed.