Eva Fakatselis
Fire
Blood Lines
Prayer Trees
Nature Abstracts
Pacific Color Palettes
Field Guide to Cancer
Sketchbooks
Exhibitions
About
Catalogues
Contact
Body Ego
August—October 2026The Gallery at Sendero, Nosara, Costa Rica
A companion to the preceding exhibition of landscapes and the natural world, Body Ego turns inward—from the landscape around us to the landscape within the body. The work seeks not only to evoke the body visually, but to elicit a corporeal response—a felt awareness of one’s own physical presence. Dyed and painted muslin, soft sculpture, palm fronds and organic materials form an environment suggesting membranes, organs, vessels and bodily thresholds without resolving into a fixed anatomy. The natural and corporeal begin to merge: forms appear simultaneously bodily and vegetal. There is a ceremonial implication here—a gathering of forms and materials suggesting objects of ritual—at once intimate and talismanic. The title draws from Freud’s notion of the “body ego”—the idea that our sense of self is fundamentally rooted in the body and formed through sensations at its surface. The installation also looks back to the bodily and material language of Eccentric Abstraction, the landmark 1966 exhibition organized by Lucy R. Lippard, and its embrace of soft, sensuous and psychologically charged forms.
Threshold
July—August 2026The Gallery at Sendero, Nosara, Costa Rica
An immersive installation of human-scaled tapestry-like paintings, these works are an amalgam of forests in Costa Rica and Alaska visited by the artist in the past three years. Here the notion of forest encompasses a transcendent space of light and shadow. Shifting perspectives and dynamic paint is brushed, washed over and layered on the surface of the canvas. A form of forest-bathing meant to transport the visitor into another world and inspire a spiritual relationship with nature. A manifestation of Fakatselis’ preoccupation with inner and outer landscapes, this installation seeks to manifest health and vitality through this deep connection with nature.
Lou Castillo x Eva Fakatselis
May—July 2026The Gallery at Sendero, Nosara, Costa Rica
There are forms that nature repeats. In this exhibition, Lou Castillo and Eva Fakatselis begin from the same intuition: that the body and the landscape are not separate territories, but different versions of the same living system. Fakatselis arrives through paper and pigment. Her trees are at once organisms and icons: their branches blur into vascular networks, their presence invoking both biology and prayer. Castillo arrives through the earth itself. Her totems condense years of research into a single object: the spines of the pochote tree, the trails of snails, and the language of textures, colors, and modules from Shifting Territories. What unites these two artists is a shared way of understanding the world: everything is connected, and that connection has shape, has line, has texture. Both are tracing, each from her own material and history, the same question: how does life flow between things? What connects us to the place we inhabit, to the people around us, to ourselves?
The Artist’s Living Room
April—May 2026The Gallery at Sendero, Nosara, Costa Rica
The Artist’s Living Room brings together the artists, designers and makers Fakatselis collects and lives with, alongside her own work. Shaped by proximity and daily exchange, the exhibition reveals how influence moves between them—through shared forms, instincts, and ways of seeing. What emerges is not a single voice, but a cohesive field of connected influences that spans mediums, generations and cultures.
Participating artists and makers include: Alberto Guglielmi, Ángel Manuel Lara Vargas, Craig Hansen, Eva Fakatselis, Gerardo Ramírez, Irini Karayanonpoulou, La Galería by Nosara Design, Leonardo Ureña, Leukothea Fakatselis (the artist’s grandmother), Lou Castillo, Obra Gris, Punta Islita Museum Artisans, Santiago “Milé” Conejo.
Miraculous Trees
March—April 2026Nosara, Costa Rica
Fakatselis grounds her work in inquiries of the body, identity, and spirituality. Her focus is on circulatory systems as both image and structure—vascular networks intertwined with the role of prayer in daily life. For these works on paper, the body and the landscape collapse into a single, continuous system and the forms present as contemporary icons. The trees emerge as animate and miracle-working—through repetition, symmetry, and the use of gold and silver leaf, Fakatselis draws from traditions of illumination and devotional imagery. The intentionality behind their creation, their adornment and their narrative quality transforms them from representations into offerings. Like miracle-working icons, they are intended to hold focus and transmit energy. Across mythologies, stories of transformation between human, plant, and animal forms reflect a shared understanding of life as magical and interconnected. Fakatselis extends this lineage, using her own experience as a conduit to explore how life force moves—through blood, through trees, through landscape—and how reconnection to these systems can be deeply potent.
Assembly
February 2026Art in the Park, Parque Río Nosara, Costa Rica
This work is a continuation of Fakatselis’ Bloodlines series, exploring circulatory systems and the visceral and ritualistic symbolism of blood. Thinking about scale, here the panels of muslin and soft sculptures are layered and interactive. The suggested human physiology - circulatory systems, blood, organs - creates an energy exchange with the viewer and the forest; a permeable membrane between our inner and outer worlds that speaks to the interconnectivity inherent in all living things.
Burn. Transform. Repeat.
March 2025Galería deCERCA, Nosara, Costa Rica
In this new exhibition, Greek-American artist Eva Fakatselis explores fire as a force of transformation and memory. Through large-scale gestural paintings and sculptures crafted from resin, wood, ash, ink, and iron, Fakatselis evokes the sensorial experience of fire and its cyclical nature; an element and message, confronting the viewer with the beauty and inevitability of change, of destruction and rebirth. Charred remnants collected from Guanacaste’s forest fires, hearths, and bonfires serve as medium. Drawing from alchemical traditions, classical mythology, and personal history, “Burn. Transform. Repeat.” embodies an intimate reflection on overcoming fear and embracing transformation in the ever-present cycle of symbolic death and rebirth. At the heart of the exhibition, Fakatselis poses fundamental questions: How do we accept the inevitability of change—both its grandness and its ordinariness? How do we navigate the inescapable cycles of dissolution and renewal that shape our lives? And in the face of uncertainty, how can we surrender to transformation, trusting that we too can rise from the proverbial ashes—again and again, remade.
Echo
Sound installation by Eva Fakatselis and Petros TatsiopoulosMarch 2024
Campo, Nosara, Costa Rica
Echo was created from echocardiogram recordings of Eva’s heart, tracking the velocity and flow of blood through her heart’s arteries and valves. This soundscape imagines the experience of hearing the flow of blood from the interior of the body. An abstract approach was taken to the organization of the frequencies — localizing them in the stereo field, along the golden ratio of rotation, which is a transcendental number. This generates the experience of a non-space, or at least no space that exists in reality — and proposes a spatial experience that is inner.
Petros Tatsiopoulos (b. 1993) studied partially Architecture (KIT Karlsruhe, Germany), Scenography and Exhibition Design (HfG Karlsruhe, Germany) and has a BA in Visual Arts (ACG Athens, Greece). He has participated in art projects such as theatre scenography (Baden State Theater), artist run spaces, group exhibitions and festivals (InSonic 2015). He has been preoccupied with sound art and sculpture since 2014 and this has been his main focus, through mathematical abstraction and a philosophical exploration on the nature of art and its place in social structures.
Special thanks to Alejandro Gutiérrez Breedy at Paradise Medical Services. Sound recordings by Alejandro Sauter.
Blood Lines
March 2024Campo, Nosara, Costa Rica
The work represented in this show is a catalogue of the artist’s year in 2023 with all its complexity and contradiction: light and shadow, pain and beauty, good fortune and unexpected challenge. This year held many unplanned twists and turns, and throughout, Fakatselis’ ability to turn to the creative process provided her with a lifeline across a tapestry of places and events: Nosara (Costa Rica); Greece; the United States; her father’s open-heart surgery; navigating her own health; and the tenderness of spending time with loved ones as well as being grateful for today. This work, especially the profound act of suturing and stitching, has allowed Fakatselis to suspend herself across the timeline of past and future, bringing forth a permeating sense of both nostalgia and anticipation for what comes next.
Beneath the Surface (Group Show)
June 2024Campo, Nosara, Costa Rica
These recent studies, presented as part of the group show Beneath the Surface, continue to explore the collective human archive of mythology and symbolism. Here, Fakatselis has printed images of her own hands across a period of two years using the cyanotype (sun print) method. These prints were made in Nosara, Costa Rica and Astypalaia, Greece from 2022—2024 and the different latitudes and times of day can be identified by the varied exposures of the prints. The symbolism of the hand is deep and rich, It follows that the soul is analogous to the hand, according to Aristotle. These compositions begin to build a modular system of gestures, exploring agency, connections and the mark-making hand of the artist, always relational to the spiritual realm and the golden thread of fate.
Prayer Trees
April 2023Campo, Nosara, Costa Rica
This latest body of work is shaped by Fakatselis’ interest in exploring multiple semantic systems including the mystical-allegorical language of alchemy and classical Greek mythology along with Christological symbolism drawn from Byzantine and early Renaissance painting and illuminated manuscripts. She is drawn to themes and allegories of light, shadow, transformation and metamorphosis from human to plant or animal form, along with the transmutation of the individual from the physical to the spiritual realm. The artist continues to derive deep inspiration from the potent natural world that surrounds her in Costa Rica, specifically the Plumeria tree as representative of a central icon, adorned with talismans for prayer and contemplation. The catalyst for the artist’s interest in creating this personal spiritual practice was born out of her transformative battle with cancer and a desire to reexamine herself, her cultural identity as a Greek-American living in Costa Rica, and what she seeks to invoke and manifest moving forward.
A Year Lived in Color
2023Campo, Nosara, Costa Rica
Pacific Color Palettes, Ocean Series, March 2021—March 2022. For this installation, the walls of a narrow passageway were papered with exhibition copies of 300 original works, creating an intimate and immersive experience wherein the individual daily color palettes could exist in the context of the entire year. These 300 watercolor palettes impart the artist’s experience of living throughout the year alongside the Pacific Ocean in Playa Guiones, in Nosara, Costa Rica. These works are part of an ongoing project where the artist generates a color palette as a memento of a specific time, place and feeling, reflecting on the experience of the moment and the passage of time.
Spirit of Place
March 2022Campo, Nosara, Costa Rica
Created between 2021 and 2022, this body of work is deeply linked to the natural environment of Playa Guiones and the Campo property where the artist lives and works. Using natural elements encountered in daily life as the inspiration for her personal symbology, these paintings are iconographic and alchemic depictions of the artist’s challenges, her desire to live in harmony with nature and invocations for protection, health and love.
Though these paintings appear to be two-dimensional works, they should be perceived as three-dimensional objects with special attention paid to the physical placement of each. In Greek culture, a talismanic object would be hung in a home and/or by an icon, situated in such a way to summon protection and aid. These works, whether hanging in actuality from trees in the property’s gardens or depicting trees adorned with objects, are variations on this theme.
Pacific Color Palettes
2021Outpost, Nosara, Costa Rica
Pacific Color Palettes, Ocean Series, March 2021—March 2022. A project of daily meditations on color, place and the passage of time, reflecting the experience of living throughout the year alongside the Pacific Ocean in Playa Guiones, in Nosara, Costa Rica. Watercolor on Watercolor Paper and ranging in size from 6×4 in and 10×6 in.
Back to top