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Sculpture (MA)

Marita Pappa

Marita Pappa (b.1988) is a Greek artist living and working in London. Her sculpture and installation works address the intimate in the political and the ambiguous terrain between private and public, aesthetics and politics. She is particularly interested in how forms and found objects carry personal and political significance, and how they navigate through history, language, and civic duty. She works in a variety of media, often arranging works together to create larger installations. She graduated from Glasgow School of Art with a BA(Hons) in Fine Art in 2020. During her studies she became increasingly interested in sculpture’s political dimension and its possibility to shape society.

In 2020, she was selected as a recipient of the Leverhulme Trust Arts Scholarship for full tuition for her studies at the RCA. She was also awarded a NEON Foundation for Culture and Development scholarship for postgraduate studies from her home country, Greece in 2020 and in 2021.

How can artists envision new forms of living? Humans as animals, humans as minerals, humans as ghosts; what boundaries does the human form offer or impose? These are some of the questions that I am currently trying to unravel in my practice.  

My research has been focusing on the body, the materiality of emptiness and its potential energy as well as understanding conditions of rupture, and survival. My current work is situated between Greek myths and tragedies, rituals, and healing. It is concerned with ideas of cycles, mourning, and mortality; the sense of how things come to an end and the potential for new beginnings. It exalts states of transformation, slowness, calling attention to states of fragility, change and unpredictability. A constant exploration of the notions of womanhood, fertility, life and death and the space in between.

My Empty Belly - Part of Lapped Seams and Silver Linings, group show at Standpoint Gallery, March 2022.
Mimosa Hands - Part of Lapped Seams and Silver Linings, group show at Standpoint Gallery, March 2022.
My Empty Belly - Part of the group show Penumbral Zone, Gallery 46, London, April 2022
Installation Shot
Installation Shot
Installation Shot

I employ a versatile approach according to each medium’s expressive exigencies – paper, wax, ceramics, among others. My carefully selected materials subtly evoke the fragility and absence of human life. As if every piece of work acts as an effort of healing, a tender act of repair. I am drawn to light, modest, and domestic materials such as clay and papier mâché and their associations with notions of repair, the body and labour; while at the same time look forward toward the creative potential that might give dysfunctional or discarded remains new life.


Sculpture, Installation


Reflection Reflexivity Revelation
Making as cooking, cooking as making.
Planning a menu.
My studio guests.
Ten months of studio space.
Advice to my future self.

Visual maps and sketches of my research throughout the year.


Drawing, writing


A Taxonomy of Bivalves, 2022, Unfired clay, Terracotta, and buff ceramics, 7cm x 4cm
A Taxonomy of Bivalves, 2022, Unfired clay, Terracotta, and buff ceramics, 7cm x 4cm
Fragment I, 2021, Plaster cast, 13cm x 10cm
Casts of my hands, 2021, green foundry wax, black patinated bronze, 17cm x 8cm
Untitled, 2022, recycled packaging paper, water, pva, 70cm x 40 cm
Antigone’s reclaimed body, 2022, fired terracotta clay, 44cm x 36 cm x 5 cm
Installation - Work in Progress, May 2022, terracotta torsos, clay bivalves, wax hands.
NacreInstallation Shot of my Degree Show, Battersea South, June 2022

The following images form a fragmented map of my final work Nacre that is going to be exhibited in Battersea South. Here you can see my inspiration behind the work as well as documentation photographs of my process. Nacre, is strong, resilient, and iridescent.

Throughout this year, I began experimenting with life casting and mould making processes and created casts of my own body and hands. At the same time, I became fascinated by the long history of bivalves, and I produced highly detailed copies of their shell. Some of them are fired to become durable, others have been left to dry and eventually decay and disappear. Experimenting across mediums, revisiting time-honoured techniques such as casting in bronze, while exploring alternative processes such as microscopic images and digital printing, my artistic body is an amalgam of the traditional and the modern, the transient and the permanent.


Unfired Clay, Ceramics, Wax, Microscopic photographs, Papier-mâché



Leverhulme Trust and NEON Foundation for Arts and Development by D. Daskalopoulos

She is also the recipient of a grant from The Gilchrist Educational Trust.