Eirini’s and Vincent’s days are illuminated by the Mediterranean sun; its presence, as well as that of their immediate environment, is essential to their work. What they create clearly demonstrates this. They’ve also articulated it in writing: “Frequently represented in our projects are urban and natural elements removed from their daily context. We try to create a dialog between public and private space by highlighting, erasing, or transforming events, contexts, or environments. This can take the form of mural paintings or digital collages, but what remains the most involved is layered drawing.” Because of their actions in public spaces or by using public phenomena as a canvas, they can be connected to public art. They started urban intervention by simply taking advantage of the mild climate to make the city their studio.
They found a common ground with the use of marble and collage in their work. Marble and its textures, together with patterns they gather (from everywhere in the world now while they travel for their public art) redrawn, recomposed, removed from its natural context, and become new monuments to utopias. They use references of the Cretan landscape and newspaper photos from fires and explosions everywhere in the world, covering them or using them as a way to raise awareness. Can this art be qualified as ecological? In the sense that it does not denature the environment in the long term by introducing forms and colors against nature, the answer is yes. The work of Eirini Linardaki and Vincent Parisot inserts itself into this nature and highlights its Mediterranean splendor.