XeniArtSpace presents CHANNELLED: Women in Art Across Centuries, an international exhibition bringing together 17 women artists from different generations and cultural contexts. Centred on works from the personal collection of Founder, collector and Lead Curator Xenia Kulbachevskaya, it places historically significant artists in dialogue with internationally recognised and emerging contemporary voices.

Through painting, photography, textile, sculpture and installation, CHANNELLED explores how personal experience, memory, intuition and the inner world acquire visual and material expression. The exhibition presents a plurality of independent artistic voices, offering audiences in Cyprus an opportunity to encounter important movements in 20th-century art alongside contemporary artistic practice.

Audio Guides for CHANNELLED

Olga de Amaral was born in Bogotá, Colombia, in 1932. She studied architectural design before turning to weaving and textiles at Cranbrook Academy of Art in the United States. Her practice brings together textiles, painting and sculpture, with a particular interest in gold and light.

In Nébula 8, Japanese paper, linen and gold leaf create a surface that seems to turn into light. The work explores ideas of birth, origin and the unpredictability of existence.

Nébula 8, 2015

Japanese paper, linen,
gesso, acrylic, gold leaf

Olga de Amaral

British artist Tracey Emin draws on her own life, exploring love, memory, loneliness and vulnerability. She belongs to the Young British Artists generation, which reshaped British art in the late 1980s and 1990s.

Naked Photos – Life Model Goes Mad I, II, III grew out of a performance in which she worked naked inside a closed gallery space while visitors watched from outside. Here, Emin is both artist and model, choosing how her own body is seen. The photographs record her return to painting after a personal and creative crisis.

Naked Photos – Life Model Goes Mad I, II, III, 1966

Tracey Emin

Leonor Fini was born in Buenos Aires in 1907, grew up in Trieste and spent much of her life in Paris. A painter, illustrator and theatre designer, she was associated with Surrealism while remaining independent of the group. Women in her work often appear as powerful, mysterious beings.

According to Galerie Minsky, Sphinge I is a self-portrait of Fini as a sphinx. The mythical figure becomes an image of female independence, knowledge and strength.

Sphinge, 1969

Oil on paper

Leonor Fini

Lydia Masterkova was born in Moscow in 1927 and became a leading figure in Moscow’s nonconformist art scene. A member of the Lianozovo circle, she was among the first artists of the Moscow underground to turn consistently to abstraction. By the late 1960s, she was incorporating lace, brocade and old fabrics into her paintings as carriers of time and memory.

Metaphysical Abstraction, created in 1969 using mixed media on canvas, has a dense, almost archaeological surface. Abstraction becomes a way to express inner freedom without a recognisable image.

Metaphysical Abstraction, 1969

Mixed media on canvas

Lydia Masterkova

Leiko Ikemura was born in Tsu, Japan, in 1951 and moved to Europe at the age of twenty-one. She studied painting in Seville, lived in Zurich and later settled in Germany. Her work brings Japanese and Western traditions together, exploring states between human and animal, presence and absence.

In Rote Marie, a figure appears and fades within red light. In Birdpeople III, human and bird forms merge into a being in transformation.

Rote Marie, 2024

Tempera and oil on jute

Birdpeople III, 2013/2024

Bronze, patinated

Leiko Ikemura

Lynne Drexler was born in Virginia in 1928 and moved to New York in the mid-1950s. She studied with Hans Hofmann and Robert Motherwell, developing a language of rich colour, mosaic-like brushstrokes and rhythm. Classical music, especially opera, was an important source of inspiration.

Celestial Division is thought to have been inspired by Richard Wagner’s Ride of the Valkyries. Its colour and repeated marks translate musical movement and rising energy into painting.

Celestial Division, 1966

Oil on canvans

Lynne Drexler

Sabine Moritz was born in East Germany in 1969 and lives and works in Cologne. Her early works returned to places from her childhood, reconstructed from memory. She studied with Gerhard Richter at Kunstakademie Düsseldorf and developed an independent practice centred on memory, emotion and the physical qualities of paint.

Her process of adding, covering and scraping away paint echoes the way memories disappear and return, a theme explored in For the Lovers V. Colour and movement express feeling without telling a specific story.

For the Lovers V, 2022

Oil on canvans

Sabine Moritz

Hayv Kahraman was born in Baghdad and fled Iraq with her family at the age of eleven, becoming a refugee in Sweden. Displacement, the loss of home and questions of identity are central to her work. Her often partly autobiographical female figures bring together influences from Renaissance painting, Japanese prints and Persian miniatures.

In Plucked, a female figure appears within a complex, almost ritual setting. Within CHANNELLED, the work connects the artist’s experience of exile with memory, healing and renewal.

Plucked, 2024

Oil and acrylic on linen

Hayv Kahraman

Inka Essenhigh is a New York-based artist who first gained wide recognition in the late 1990s. Her paintings create imagined worlds in which nature, human figures and fantastic forms follow their own logic. She has described wanting to reveal the hidden life within things and set it in motion.

In Forest Light, plants and light seem to move together through a living landscape. Familiar natural forms shift into fantasy, connecting the visible world with the life imagined beneath its surface.

Forest Light, 2024

Enamel on canvas

Inka Essenhigh

Teresa Solar Abboud was born in Madrid in 1985 into a family with Spanish and Egyptian roots. She began with video before expanding into photography, drawing, ceramics and large-scale sculpture. Her work brings together the organic and the artificial, the body and the machine.

In Tunnel Boring Machine, rough clay meets bright, smooth forms that suggest beaks, wings, fins or claws. Inspired by industrial machinery, the sculpture seems to be changing into a living creature.

Tunnel Boring Machine, 2024

High temperature clay, resin, acrylic pain

Teresa Solar Abboud

Emily Kraus was born in New York in 1995, lives in London and graduated from the Royal College of Art. Her painting practice brings together abstraction, bodily movement, meditation and a distinctive working process.

To create Nest Time 1, she manually turned a continuous loop of canvas around a metal structure, using rollers to move the fabric. Working inside it, she could see only a small part of the painting at a time and had to hold the rest in memory. The repeated marks record movement and the balance between deliberate action and chance.

Nest Time 1,2023

Oil on canvas

Emily Kraus

Élise Peroi works across textiles, painting, sculpture and architecture. Using linen, painted silk and wooden structures, she turns fabric into a space in its own right. Her slow, repetitive process of weaving gives an important role to time and the movement of her hands.

In Anachorèse – villa, woven surfaces and a wooden frame create a light, open shelter. Light, air and the surrounding space pass through the work, suggesting a place of quiet and retreat.

Anachorèse - villa, 2022

Painted silk, linen, wood

Élise Peroi

Georg Wilson is a British artist born in 1998 who studied art history at Oxford and painting at the Royal College of Art. Her practice draws on English folklore, landscape painting and the changing seasons. In her imagined worlds, people exist alongside plants, animals and insects, within the same natural cycles.

In Bejeweled, green beetles shine like jewels on a figure’s body. Plants, insects and skin become part of a shared cycle of growth, decay and renewal.

Bejeweled, 2025

Oil on linen

Georg Wilson

Pia Krajewski was born in Cologne in 1990 and lives and works in Düsseldorf, where she received her artistic education. Her practice explores perception and the ways familiar forms can become something new. Architectural details, fruit, armour, hair and ornaments provide starting points for images that shift between objects and bodies.

In Pagoda Cloth, the painted form suggests fabric, architecture and a living being. The work invites viewers to follow these changing associations rather than settle on a single meaning.

Pagoda Cloth, 2026

Oil on canvas

Pia Krajewski

Maro Gorky was born in New York in 1943 and received her first painting lessons from her father, Arshile Gorky. She later studied at the Slade School of Fine Art in London and settled near Siena in 1968. Tuscany became central to her art, with its gardens, vineyards, changing seasons and family memories.

In Nesting Peacocks, rich colour and flowing shapes turn nature into a decorative composition. Close observation meets memory and imagination within the artist’s own visual world.

Nesting Peacocks, 2008

Oil on canvas

Maro Gorky

Konstantina Krikzoni was born in Chalkidiki, Greece, in 1987 and lives and works in London. She graduated from the Royal College of Art with an MA in Painting. Her practice uses the female figure and Greek mythology to explore memory, desire, vulnerability and inner strength.

In Unraveled I, charcoal and ink lines hold a figure together while also loosening its boundaries. The body appears to be transforming between a recognisable form and an inner emotional state.

Unraveled I, 2024

Charcoal sticks and pencils, indian ink on linen

Konstantina Krikzoni

Jess Allen was born in Dorset in 1966 and lives in Cornwall. Through everyday scenes, light and shadow, she explores time, memory and the relationship between outward appearance and inner life.

In I'm not perfect, a shadow falls across patterned fabric, taking the place of a visible face or body. Allen sees the shadow as both a self-portrait and a separate double, carrying vulnerability and imperfection. The work connects the trace of a body with memory, honesty and self-acceptance.

I'm not perfect, 2025

Oil on linen

Jess Allen