Chrysanne Stathacos  is a multidisciplinary artist of Greek, American and Canadian origin. Her work has encompasses printmaking, textile, painting, installation  and conceptual art. Stathacos is heavily involved with and influenced by feminism, Greek Mythology, eastern spirituality and Tibetan Buddhism, all of which inform her current artistic practice.

Stathacos has exhibited in museums, galleries, and venues internationally. She has participated in countless exhibitions in various media, but she is most known for her unique combination of performance and installation. She has received funding for her projects and her artwork from foundations and government agencies such as the Art Matters Foundation, the Japan Foundation, the Canada Council for the Arts, and the Adolph & Esther Gottlieb Foundation, among others.

Amidst the AIDS crisis in the 1990s, Stathacos’ work became deeply engaged with body politics, and her commentary on issues of sexuality and gender became more pronounced. Through her work, Stathacos was creating images and experiences that  connect issues of body, environment, and future. Her  works from that time represent this pivotal moment in the artist’s practice.

In the 1990s, Stathacos developed an artistic alter ego named Anne de Cybelle, who was enraged by the exclusion of women artists in the art historical canon. Cybelle was part self-portrait, part activist, and asked questions about how we see art history, conventional time, identity, and patriarchal social conventions. The canvas works included in this presentation are a result of this critical inquiry. Stathacos printed on her surfaces using intimate materials such as hair, clothing, condoms; and organic materials such as ivy, cannabis, and roses. Through her careful and repeated patterning she critically reflects on a history of vulnerability and loss, and transforms its remnants into poetic compositions that reflect on spiritual imagery.

Stathacos is known for her support of  her woman artists in her collaborative exhibitions and blogs, and social practice.  Two major collaborative works from the early 1990’s  still resonate today: “The Abortion Project” with Kathe Burkhart, and “The Banquet” with Hunter Reynolds. The Abortion Project commemorated women’s reproductive rights, and was presented at Artists Space, Simon Watson Gallery, Real Art Ways, Hallwalls, and New LangtonArts between 1990 and 1993. The Banquet was first performed at Thread Waxing Space in 1992, inspired by Surrealist Meret Oppenheim’s Spring Feast. On May 1, 2017, Participant Inc. celebrated The Banquet’s 25h Anniversary as part of Ephemera Office Enterprise. Since 2012, she has been a co-editor of  the interview artblog MOMMY,  an appreciation of women artists who have been working for at least 20 years.

Stathacos’ first  major interactive work 1-900-Mirror-Mirror (1993). This sculptural installation was made during the height of the AIDS crisis when Stathacos was living in New York, and was first exhibited at Andrea Rosen Gallery the year it was made. Grappling with the deaths of many friends and colleagues, Stathacos conceived of the work to discover what viewers might ask when confronted with their own image in an infinity chamber. Using a video phone, the artist would speak with viewers as they entered the booth and conduct tarot readings in order to create a space where people could ask questions about the future. The mirrored walls were meticulously printed on with hair and ivy, and exemplify the interconnected interests of Stathacos’ practice.

1-900 Mirror Mirror”predicted by a decade the skype chats and video-streaming exchanges. The Breeder Gallery, Athens, presented this seminal interactive work “1-900 Mirror Mirror” at Frieze NY, May 4-11, 2017, to much acclaim in The Art Newspaper.In 2020, during another pandemic, 1-900 Mirror Mirror was exhibited in There are more than four, curated by Jacob Korczynski at Cooper Cole Gallery, Toronto which resulted in many articles on this work.  Many zoom interactive chats during the exhibition were offered to the public as the gallery was often closed due to the pandemic. Rhiannon Vogl’s article  “Calling Cards” for Blackflash magazine details her experience with 1-900 Mirror Mirror at Cooper Cole Gallery, There are more than four,  curated by Jacob Korczynski.

1-900 Mirror Mirror

AA Bronson included her performance and installation Rose Mirror Mandala (2006) in The Temptation of AA Bronson, Witte de With Centre for Contemporary Art, Rotterdam, (2013). Her performance “Pythia’s Warm Breath” was included in Oracle Drawings, Parliament of Bodies, public programs, documenta 14, 2017.  Stathacos had her first one person exhibition in Athens, “Pythia”, The Breeder, Athens in 2017.  “Pythia Rose Mandala“was presented in “AA Bronson’s Garten Der Luste” at KW Institute for Contemporary Art, Berlin. Her work is also included in “AA Bronson’s House of Shame published by Edition Patrick Frey in 2021.

Recent news and press  on her work can be found here

Chrysanne Stathacos Wikipedia

Chrysanne Stathacos  fonds at The National Gallery of Canada

Chrysanne Stathacos Brooklyn Museum,

Stathacos Chrysanne CV 2019 *

Artforum Critic Pick



Thanks to the following Art Councils for their support of my work