From bronze to iron, from welding to fer brasé, from cement to aluminum, from synthetic materials to wood, from wool and weaving to concrete slabs, from stainless steel to screwed metal structures, Koulentianos experiments, reaching each time at the point where the growth of “the other” is never a mechanical repeat or a mannequin of the variation. Each of the periods of his work can be said to be, not to originate, but to prevent the need for a new patent for sculpture. When he touches a new material, he is not to restore a weak sculpture that falls, but instead revive the craving and give life to the momentum of a sculpture that still demands another, to want to stand on their feet, to go ahead, grow, embrace the space, the other, the man, the horizon, the world Man towards man, the man who knows how to stop. As if his sculpture brings in an insurmountable way and the sensuality that inspires the erotic dimension of every human relationship and approach, he is ruled by a deep poetic consciousness of a man who has experienced fascism and war, his most horrible downfall when he goes beyond power and tries to subdue the other.Source: culturenow.gr