Art Athina Exhibition

25th of May, 2017

Art Athina

She is

Their goddess and queen.






Even at breath’s distance

She is theirs

and she is

a stranger.

She is

The stone goddess

With the unveiled breasts

erected and pointed

into the centuries

provoking time

with their resistance.

And more,

Being ironical to it.

The impudent.

With invisible smile

On the corners of the lips.


Like the ancient statues.

She is here

And also

somewhere else,

in an unknown world.

Della Rounick Sculptures, Gallery Opening, Kolonaki, Athens, Greece


The opening of the new exhibition gallery DELLA ROUNICK for sculptures of Della Rounick at LEVENTI 1 in Kolonaki took place with great success. Many old and new friends of the visual arts field and more attended the event, and remained in the gallery for a long time. The art critic Mary Michaelides, who has worked for many years in the Ministries of Culture and the President’s Office, as well as a manager at the National Gallery of Greece, referring to her close friend Della Rounick, whom she has known since her student years stated:

“Sculpting is such a great and fulfilling job, my dear Mary! It makes all the senses bloom”.

Paris, March 1998, Gabriella Simosse.

“It was a long time ago, in a beautiful city of France, Toulouse, that within a Greek student group, a restless young woman was seeking in anguish to achieve distant and elusive goals.

Yet this persistent daughter of Macedonia, succeeded, through many inconveniences and ups and downs in calm and troubled days, to acquire a rather rich load of experiences which formed her cosmopolitan personality that led her into the path of the magical area of visual arts.

In this seductive world she joined, she found out with patience and perseverance, that it had a unique symbolic language which constantly shapes its own plastic echo and outlines the basic aesthetic rules: form, shape, balance, style and their multiple alternations.

It is these original rules of sculpting, along with her own aesthetic codes, that Della Rounick succeeded to integrate into her works, while attesting her own artistic proposals that reshape matter into her personal fantasy landscape.

Besides, the clear influence of the cultures she has experienced and the distinct Aegean landscape she lives in, defined the forms and shapes of her sculptures that refer to multiple visual analogies and interpretations of her individual semiology and her genuine artistic sensibility. ”

Mary Michaelides

Athens, April 2017

Mykonos Exhibition

August 2016

Mykonos Exhibition

Η κριτικός τέχνης Μαίρη Μιχαηλίδου όπου επι σειρά ετών εργάστηκε στα Υπουργεία Προεδρίας και Πολιτισμού, καθώς επίσης διετέλεσε και διευθυντικό στέλεχος στην Εθνική Πινακοθήκη της Ελλάδος, αναφέρει για την στενή της φίλη Ντέλλα Ρούνικ την οποία γνωρίζει από τα φοιτητικά της χρόνια ότι: «Έχει περάσει πολύς χρόνος από την εποχή που στους κόλπους μιας Ελληνικής σπουδαστικής συντροφιάς, σε μια όμορφη πόλη της Γαλλίας, την Τoulouse, ένα ανήσυχο κορίτσι αναζητούσε με αγωνία, μακρινούς και άπιαστους στόχους. Κι όμως αυτή η πεισματάρα κόρη της Μακεδονίας μέσα από αναποδιές και σκαμπανεβάσματα μέσα από ήρεμες και ταραγμένες μέρες πέτυχε να αποκτήσει ένα ιδιαίτερα πλούσιο φορτίο εμπειριών και με κοσμοπολίτικη πια φυσιογνωμία κατόρθωσε να ανακαλύψει τον δρόμο της στο μαγευτικό χώρο της εικαστικής δημιουργίας. Σε αυτό τον σαγηνευτικό κόσμο εντάχθηκε και με υπομονή και επιμονή διαπίστωσε, ότι διαθέτει την δική του συμβολική γλώσσα που μορφοποιεί, συνεχώς, τον προσωπικό του πλαστικό αντίλαλο, χαράσσοντας τους βασικούς αισθητικούς κανόνες: την φόρμα, την μορφή, την ισορροπία, το ύψος και τις πολλαπλές εναλλαγές τους. Αυτούς τους πρωταρχικούς κανόνες της πλαστικής, παράλληλα με τους δικούς της αισθητικούς κώδικες πέτυχε η Della Rounick να ενσωματώσει στα έργα της και να καταθέσει με διακριτικότατα τις δικές της εικαστικές προτάσεις που μεταπλάθουν σε ύλη το προσωπικό της φανταστικό τοπίο. Άλλωστε η σαφής επίδραση των πολιτισμών που γνώρισε και του ξεχωριστού αιγαιοπελαγίτικου τοπίου που ζει, καθόρισαν τις φόρμες και τις μορφές των γλυπτικών της συνθέσεων που ανατρέχουν σε πολλαπλές εικαστικές μεταφορές και ερμηνείες της ατομικής της σημειολογίας και της γνήσιας καλλιτεχνικής της ευαισθησίας.»

Μαίρη Μιχαηλίδου

Μάϊος 2017

Tα υπέροχα μπρούΝτζινα γλυπτά της Ντέλλα Ρούν ικΤα υπέροχα μπρούντζινα γλυπτά της Ντέλλα Ρούνικ

Η γνωστή καλλιτέχνις σε μια κουβέντα περί τέχνης, με αφορμή τα μπρούντζινα πολυμορφικά γλυπτά της «Ανδρομέδα και Πλειάδες».

Κάντε κλικ εδώ για την πλήρη συνέντευξη (PDF).



A prayer at the edge of the universe

This group of distinct polymorphic sculptures by Della Rounick, Andromeda and (the) Pleiades, inhabits, seduces and calms the gaze with the manner, the spare lambency and the mystical revelation of a eternal night constellation.

There is an exceptionally mature aesthetic at work here and a conceptual attempt to approach the transcendental definition of prayer, in order to proceed in a silent process to osmotically absorb and comprehend a primordial code of communication body-to-body and spirit-to-spirit between human and the divine under the open skies.

Maintaining her archetypal innovative iconological proposition, based on the sacred energy of fertility and the timeless instant of a personal prayer to the universe, yet moving powerfully over the past years from the act of painting to the therapeutic manual labour of shaping the human form in three dimensions, initially using plasticine and experimenting subsequently with the painstaking process of molding, in order to achieve the polished perfection and abstract expression that characterize the sum of her sculptures, the artist was led to a personal curved universe that permits the literal and spiritual viewing into the often unseen “inner country” of each sculpture.

Della Rounick’s hybrid sculptures, set up in the infinity of Mykonos, observe and absorb the world-birthing energy from nearby Delos, liquefying the curved displacement of their metal existence from a closed form to an open one and from white lambency to dark Erebus, bridging different cultures and battling religious beliefs; bearing charming names, which mine, elucidate and complete the Greek myths; at times passionately female and at other times with androgynous symbolism; always praying to their own minor deity, gain almost magical qualities.

They are living sculptures of an indelible creative adventure; a ritual prayer to the universe, which discourses with power and humility; cosmic chaos and feminine fertility; loss and sustainability; generosity and charity; expectation and patience; pleasure and pain; entreaty and satisfaction; but, most of all, with the capacity for an internal deification and joyfulness about the body, spirit and soul on the path to self-knowledge.

Iris Kritikou

June 2016