Ben Uri Research Unit

Born: 1951 Greece

Year of Migration to the UK: 1988

Biography

Artist Kalliopi Lemos was born in Greece in 1951. Her early life laid the foundation for a deep appreciation of cultural narratives and human experiences, elements that later became central to her artistic practice. In her thirties, Lemos moved to London to study at the Byam Shaw School of Art, where she earned a BA in Painting and Engraving (1988–1991) and an MA in Painting (1991–93). Additionally, she studied the Japanese art of Ikebana (flower arranging) for 15 years, a discipline that profoundly influenced her understanding of balance and spatial relationships. In 1999 she was selected as Artist of the Day at Flowers East, chosen by painter, Ann Dowker.

A sculptor, painter, and installation artist, she explores sociopolitical themes, particularly human rights and the systemic oppression of women. Drawing inspiration from her personal history, Greek heritage, and global issues, Lemos creates large-scale public installations and intimate sculptures that provoke reflection and dialogue. She uses her art as a platform to address pressing societal concerns, aiming to evoke empathy and awareness in her audience. A significant focus of Lemos' art is the experience of forced migration. This theme resonates with her familial history; her paternal grandparents were displaced from Smyrna (modern-day İzmir) during the Greco-Turkish War of 1922. The emotional scars of this event inspired her to address contemporary migration crises. One of her most notable works, Wooden Boat with Seven People (2011), was created from a fishing boat used to transport refugees from Turkey to Greece. The sculpture, featuring steel human figures seated in silent expectation, symbolises the vulnerability and resilience of displaced populations. Displayed in London’s Spitalfields Market from 2017-21, it formed part of her Navigating the Dark series, emphasising the universal struggle for dignity amid adversity. By memorialising these refugees’ journeys, Lemos transforms their stories into enduring monuments of humanity and resilience.

Another hallmark of Lemos’ practice is her exploration of gender and the societal constraints placed on women. This theme is central to her Tools of Endearment series, which examines the pressures imposed on women by societal norms and consumer culture. Notable works in the series include Bag of Aspirations (2019) and The Plait (2020). The latter, a 22-foot-tall sculpture made of intertwined steel rods, symbolises both the sensuality and strength of femininity. Featured in the Frieze Sculpture Park in 2020, its vertical rise conveys defiance and resilience, challenging outdated perceptions of women’s roles. Lemos describes it as a statement of self-worth, ‘It’s standing up on its own, making a declaration about the world of femininity’ (Cool Hunting). Meanwhile, Bag of Aspirations, a nine-foot steel sculpture mimicking the iconic Hermès Birkin bag, critiques the burdens of consumerism and the unattainable ideals of beauty and success imposed on women. The bag's illusion of softness contrasts with its robust steel structure, reflecting the dualities faced by women in contemporary society. As Lemos explains, ‘Fashion is a burden for women because it determines how we need to look: We have to be efficient, good mothers, businesswomen and also beautiful and fashionable’ (WWD interview). By enlarging familiar objects associated with femininity—such as a corset, a plait, and a handbag—Lemos transforms them into symbols of both vulnerability and strength, highlighting the contradictions women navigate in their daily lives.

Throughout her career, Lemos has incorporated Japanese aesthetics into her work, drawing on her studies in Ikebana and her affinity for the simplicity and balance of Japanese design. Her Hampstead home studio, a tranquil Japanese-inspired space surrounded by lush gardens, serves as a creative haven where she conceptualises and sketches her ideas. The studio reflects her belief in the importance of space and harmony, as taught by Ikebana, which she credits with shaping her approach to composition and balance. Larger works are fabricated in industrial studios elsewhere, where the demands of creating monumental sculptures are met with precision and dedication.

In addition to large-scale sculptures, Lemos has also ventured into film, using her works as narrative tools. Her film At the Centre of the World (2015) won the Borusan Contemporary Art Collection Prize. This piece explores themes of internal struggle and freedom, with a woman grappling with a cage-like iron sphere before ultimately finding peace within its confines. The film reflects Lemos’ broader artistic exploration of human resilience and the search for equilibrium in a chaotic world. In her animated video Wasps and Jewels (2023), Lemos uses steel sculptures, drawings, and digital photographs to create a compelling narrative that addresses life’s dualities. The wasps serve as metaphors for life’s aggressive and threatening elements, while the jewels symbolise beauty and value. Through this visual dialogue, Lemos encourages viewers to confront unpleasant experiences with courage while appreciating the contrasting beauty life offers. This work was featured as part of her A State of Acceptance exhibition at Gazelli Art House in Baku. In the UK public domain, her work is represented in the Victoria and Albert Museum and British Museum, London. Locations of her public art have included Yorkshire Sculpture Park, New Bond Street, London; and Golden Square, Soho, London.

Related books

Karina Horsti, ‘Imagining Europe’s Borders: Commemorative Art About Migrant Tragedies’, Communication and Languages, No. 190 (2016)
Kalliopi Lemos in Balance (London: Gazelli Art House, 2016)
Artemis Manolopoulou, ‘Why Them and Not I? An Account of Kalliopi Lemos’s Art Projects About Human Dignity’, Imagining Human Rights (2015)
Simon Critchley, Navigating in the Dark. Kalliopi Lemos (London: Black Dog Publishing, 2014)
I Am I Between Worlds and Between Shadows: Kalliopi Lemos (London: Black Dog Publishing, 2013)
Navigating in the Dark London: Black Dog Publishing, 2013)
Kalliopi Lemos - Crossings (Göttingen: Steidl, 2011)

Related organisations

Byam Shaw School of Art, London (student)

Selected exhibitions

Art in Mayfair, group exhibition, Bond Street, London (2023)
Let’s Talk About Text, group exhibition, Gazelli Art House, London (2021)
Tales of A Journey, solo exhibition, Gazelli Art House, London (2020)
It Still Is as It Always Was, group exhibition, Pi Artworks, London (2020)
Mayfair Art Weekend, group exhibition, London (2020)
Frieze Art Fair Sculpture Park, group exhibition, Regent’s Park, London (2020)
All is to Be Dared, Gazelli Art House, London (2018)
In Balance, solo exhibition, Gazelli Art House, London (2016)
Navigating in the Dark, Part III, solo exhibition, Crypt Gallery, St Pancras Church, London (2011)
Artists’ Books, group exhibition, ICA, London (2004)
Kalliopi Lemos, Artist of the Day, Flowers East, London (1999)

Ben Uri archive

Consult items in the Ben Uri archive related to [Kalliopi Lemos]

Ben Uri Research Unit

for the study and digital recording of the Jewish, Refugee and wide Immigrant contribution to British visual culture since 1900.

Kalliopi Lemos artist