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Karavouzis Sarantis

Code:
Z37-01

Title:
Untitled

Dimensions:
72 × 60 cm

Material

Acrylic on canvas

Description:

It was presented in an exhibition of Ikastikos Kiklos in 2008.

“What’s more paradoxical and at the same time cheerful of three colored curtains that travel with an undeclared destination?”

Niki Loizidis

From the list for the exhibition “Reconstructions”
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However, at some point we find that something important has changed in the look of the creator. In the way in which he perceives and interprets not only the world of ordinary everyday objects but also his own personal and deeper life-making relationship with reality. The objects of table-like “Still life” – other bodies of a symbolic language with a steady and uninterrupted reference to the importance of memory and time – have totally eliminated their volume and their shadow. I say “expel” and not “lose” because I think this time Sarantis Karavouzis attempts the conscious choice of the search for the minimum. Its “still life”, grouped into small sets of tableware in impressive elongation or in swirling and repeated Trinity symbols (a door, a curved curtain and a staircase), leave us a sense of ellipse, ellipobar, and almost spectral. Particularly the thematic unity that combines the unexpected coexistence of solitary fragments with a “disorganized” internal setting, exudes an atmosphere of extinction and exaltation. In essence, we feel that the objects released by the strict tectonic arrangement of the previous creations are looking for a different identity.

Niki Loizidis

From the list for the exhibition “Reconstructions”

This (redeeming) sense of light-emitting objects also features a parallel sub-unit of works depicting stylized curtains painted - like the rest of the compositions - in bright red, green, yellow, blue and turquoise colors. Rather, a curtainship is suspended by a statuary-memory of a constant theme of his previous work-he suddenly unleashes behind a door. A large-scale matrix depicting objects in perceptual elongation also functions as a "monumental" sign of the spirit and the new symbolic expression that characterize this unity. Is this a change in the way the artist deals with the form, or is this new tendency of his painting a consequence of a different and gradually shaped internal perspective? I personally believe that both are happening for the simple reason that both versions are deeply interrelated. Is this heavily experienced search for unrighteousness and minimal not the consequence of the reconsideration of the function of the symbols? The figurative elements that once were the bodies of the enigma and the impeccably directed mystery (half-open doors, drawn curtains) now become its undoing or its reopening on a different basis. Niki Loizidis From the list for the exhibition "Reconstructions"
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