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Πειραιάς Ζωγραφικό Έργο του Δημοσθένη Κοκκινίδη στον Εικαστικό Κύκλο Sianti

Code:
Ζ27-02

Title:
Piraeus

Dimensions:
120 × 110 cm

Material

acrylic on canvas

Description:

Presented at Ikastikos Kiklos exhibition, in 2005.

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I was born in Piraeus and I grew up next to the sea until I was ten years old. I remember its beaches and its shining waters as it is today the waters of the Cyclades. Much later, at the end of the 1950s, when I discovered the island of Sifnos, the memories of my childhood in Piraeus came back to me. Since then, there hasn’t been a summer of a holiday I haven’t met with Pepi in one of these Islands. In 1966 we stayed on the island of Milos. The island cut off from the tourists for its time made us feel we were somewhere where all our desires were fulfilled.

The back and forth to Piraeus those first years happened by sea, and the adventures of these transportations were unforgettable. I can’t forget in the 1960s, the difficulties and the problems we and the Cyclades were facing. Large boats were loaded in Perama with passengers and with them the most mischievous objects: cement, building bricks, gas bottles, cartons, food baskets, furniture, dowels, kitchens, mattresses and more.

However, this link between Piraeus and the Cyclades has had its charm with all these difficulties. It was the expectation of departure, the journey to the Aegean, the longing for arrival and then the isolation from the hum of the city, stimuli and impressions that were written in small projects and drawings.

I tried to replicate all these things, to see them again, the port with its old and new face, the charm of the journey and, above all, the happiness of the stay with the metaphysical tranquility of the Aegean world.

Dimosthenis Kokkinidis

December 2004

Good work is the one you see after ten days and still appreciate it said my friend Niki Kanagini. You can see it the next day and change it. The way everyone sees their art, has to do with their culture and their concerns. When I see a painting, I say "it will not withstand". When the painter dies, they will forget him. I look at the Greek dictionary of Artists and I see good painters that no one speaks about anymore. The question is with what stimuli and what experiences and culture tomorrow's society will see our paintings in the future. For example can the art from Documenta survive 50 years? I have not felt jealousy for my colleague's art because I have thought I would never like to work iin the way they do. Maybe it’s selfishness? Perhaps because I have a clear picture of what I want to do? I do not know. I admire my colleagues, like Psychopedis, Botsoglu, Mytaras, Fasianos. But my mind never took something from them and merged it with my work. This thought never tormented me. Source: tanea.gr
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