ÌáãêùìÝíï ìåôáîý ðÝôñáò êáé êåíïý,

Ý÷åé îåêáèáñßóåé ôïõò ëïãáñéáóìïýò ôïõ

ìå ôïí êüóìï. Ôþñá ìçëéÜ åßíáé;

ÅëéÜ åßíáé; ¢íèñùðïò åßíáé; Äåí îÝñù. Áðüóðáóìá áðü ôï ðïßçìá “ÄÝíôñï óôçí Üêñç” ôïõ ÃéÜííç Êïíôïý

Ôéò íý÷ôåò ï áÝñáò êáôïéêåß åäþ.

Åäþ ìáæåýåé ôéò áíÜóåò ôùí áíèñþðùí

êáé ôïõ ýðíïõ êáé ôïõ îýðíéïõ.

Åäþ ôéò áíáêáôåýåé êáé ôéò äïîÜæåé.

Åäþ, ìáæåýåôå üëç ç æùÞ. Ôï èáýìá! Ìé÷Üëçò ÌáíïõóÜêçò

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ÅëéÜ Êýìçò I, 84X94, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò

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ÅëéÜ É, 74X94, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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Äßäõìç åëéÜ É, 94X67, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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Äßäõìç åëéÜ ÉÉ, 94X68, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÊÝäñïò, 96X73, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÄÜóïò É, 95X72, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò

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ÄÜóïò ÉÉ, 94X94, êÜñâïõíï óå äéáöÜíåéá, ÷áëêüò, óßäçñïò

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ÄÜóïò ìå öùò É, 94X104, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò

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ÄÜóïò ìå öùò ÉÉ, 94X114, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò

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ÅëéÜ Êýìçò ÉÉ, 85X94, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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Ïðùñïöüñï É, 47X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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Ïðùñïöüñï ÉÉ, 47X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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Ïðùñïöüñï ÉÉÉ, 44X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÅëéÜ ÉÉ, 44X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÅëéÜ ÉÉÉ, 44X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÄÜóïò III, 154X94, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò

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ÅëéÜ ÉV, 44X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÅëéÜ V, 47X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

ÅëéÜ VI, 47X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÅëéÜ VII, 47X54, ôÝìðåñá óå äéáöÜíåéá, ðëåîéãêëÜò, óêüíåò

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ÄÜóïò IV, 39X54, êÜñâïõíï óå äéáöÜíåéá, ðëåîéãêëÜò, ÷áñôß

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Åäþ êáé äýï ÷ñüíéá ðáñáêïëïõèþ áðü êïíôÜ ôçí äçìéïõñãßá ôùí Ýñãùí ðïõ ðáñïõóéÜæïíôáé óå áõôÞí ôçí Ýêèåóç, ìÜñôõñáò ôçò ðñïóÞëùóçò ìå ôçí ïðïßá ï ößëïò ìïõ Ãéþñãïò ÁõãÝñïò, åñãÜóôçêå.Åßíáé åîáéñåôéêÜ áðïêáëõðôéêÞ ç åìðåéñßá ðïõ ðáñÜãåôáé üôáí ðáñáêïëïõèåßò ôçí äïõëåéÜ åíüò ïìüôå÷íïõ, êé áò ìçí åðéâåâáéþíåé óôï ôÝëïò, ôßðïôá ðåñéóóüôåñï áðü ôï áõôïíüçôï, ôç ó÷Ýóç äçëáäÞ, ìåôáîý áõôïý ðïõ âëÝðïõìå êáé áõôïý ðïõ ðñïûðÜñ÷åé ìÝóá ìáò.Ðéóôåýù üôé ï ôñüðïò, ìå ôïí ïðïßï ï Ãéþñãïò ÁõãÝñïò, áíôéëáìâÜíåôáé ôçí äéáäéêáóßá ãéá ôçí äçìéïõñãßá åíüò Ýñãïõ, êáé ôçí áíáæÞôçóç ôçò ìïñöÞò ôïõ, Ý÷åé íá êÜíåé ìå ôï üôé, ç ðñáãìáôéêüôçôá óôçí ôÝ÷íç åßíáé êÜôé ôï âáèéÜ ôå÷íçôü, êáé üôé, ï äéêüò ôïõ ôñüðïò ãéá ôçí áíáðáñÜóôáóç ôçò ðñáãìáôéêüôçôáò, Ý÷åé áíÜãêç ôïí ÷áñáêôÞñá ôçò êáôáóêåõÞò.Ç êáôáóêåõÞ åßíáé áõôÞ, ç ïðïßá Ý÷åé ôçí Üìåóç äýíáìç íá ãïçôåýåé êáé íá åîÜðôåé ôçí öáíôáóßá ôïõ, åßíáé ôï ôñéóäéÜóôáôï ìÝóï, ðïõ ôïõ åðéôñÝðåé íá áðïäßäåé ôá óôáèåñÜ ÷áñáêôçñéóôéêÜ ôùí ðñáãìÜôùí ðïõ Ý÷ïõí üãêï.Äïõëåýåé ðåéñáìáôéæüìåíïò, êáé Ý÷åé áíáðôýîåé ìéá âáèéÜ ãíþóç ìá êáé áßóèçóç ôùí õëéêþí ðïõ ÷ñçóéìïðïéåß (ðëåîéãêëÜò, äéáöÜíåéåò, ÷áëêü, óßäçñï, êÜñâïõíï, ÷ñþìáôá óêüíåò ê.ô.ë.) åðé÷åéñþíôáò ìå ôçí åöåõñåôéêüôçôá ôïõ, êáé ôéò öõóéêÝò ôïõò éäéüôçôåò, íá áðïäþóåé, ôïí ðëïýôï ôçò ðñáãìáôéêÞò ýðáñîçò. Ç åðéóôÞìç ôçò íåõñïâéïëïãßáò ìáò ëÝåé üôé “ç üñáóç åßíáé ìéá “åðÜëëçëç” áßóèçóç. ¼ôé ï åãêÝöáëïò äçëáäÞ, ðñÝðåé íá óõíäõÜóåé ðïëëÝò ïðôéêÝò êáôáãñáöÝò áðü äéáöïñåôéêÜ ôìÞìáôá ôïõ åãêåöáëéêïý öëïéïý, - íá ôá åðåîåñãáóôåß ôáõôü÷ñïíá êáé ðáñÜëëçëá, - ðñéí ìðïñÝóåé íá äåé êáé íá áíáãíùñßóåé åýêïëá Ýíá ìåìïíùìÝíï áíôéêåßìåíï.”Ç äéáäéêáóßá ðïõ åðÝëåîå ï Ãéþñãïò ÁõãÝñïò ãéá ôçí äçìéïõñãßá ðïëëþí áðü áõôÜ ôá Ýñãá, êõñßùò üìùò ôá Ýñãá ìå èÝìá ôï ÄÜóïò, áããßæåé êáôÜ êÜðïéï ôñüðï ôçí ëåéôïõñãßá áõôÞ ôïõ åãêåöÜëïõ. Ç ìïñöÞ ôùí Ýñãùí ðñïêýðôåé áðü äéáöÜíåéåò üðïõ Ý÷ïõí ó÷åäéáóôåß ðÜíù ôïõò, äéáöïñåôéêÜ ÷áñáêôçñéóôéêÜ óôïé÷åßá êÜèå èÝìáôïò, ìáæß ìå êïììÜôéá ðëåîéãêëÜò, Þ ÷áëêïý, ðïõ Ý÷ïõí äïõëåõôåß ãéá íá áðïêôÞóïõí ôï ó÷Þìá ðïõ áðáéôåßôáé, ãéá íá áðïäþóïõí ôá äïìéêÜ ÷áñáêôçñéóôéêÜ êÜðïéïõ êïñìïý Þ ôá êëáäéÜ êÜðïéïõ äÝíäñïõ, Þ áêüìá ôçí ßäéá ôçí áßóèçóç ôïõ êáèáñïý öùôüò ìå ôïí ôñüðï ðïõ ôï áíôáíáêëïýí.ÔïðïèåôçìÝíåò äéáäï÷éêÜ üëåò áõôÝò ïé áðåéêïíßóåéò êáé áíáðáñáóôÜóåéò ôùí óôïé÷åßùí ìÝóá óå Ýíá äéÜöáíï êïõôß, ìïñöïðïéïýí ôçí åéêüíá, êáé äçìéïõñãïýí ôï Ýñãï ôï ïðïßï Ý÷åé ìéá êáé ìüíç üøç. ¸íáò áöáéñåôéêüò Üèëïò ðïõ, áðáéôåß üëåò ôéò äçìéïõñãéêÝò êáé êñéôéêÝò éêáíüôçôåò ôïõ êáëëéôÝ÷íç, þóôå íá åðéëÝãåé, íá áðïññßðôåé, íá óõãêñßíåé åðéëåãìÝíåò ðëçñïöïñßåò ðïõ ðáßñíåé áðü ôçí öýóç, ìå áðïèçêåõìÝíåò êáôáãñáöÝò, ãéá íá óõíèÝóåé ìéá íÝá ïðôéêÞ åéêüíá ðïõ äåí èá áíáðáñéóôÜ ðéóôÜ ìéá åîùôåñéêüôçôá áëëÜ èá äçìéïõñãåß Ýíá åéêáóôéêü ãåãïíüò. ÂëÝðïõìå ãéá íá áðïêôÞóïõìå ãíþóç ãéá ôïí êüóìï, êáé ðáó÷ßæïõìå íá äçìéïõñãïýìå Ýñãá ôÝ÷íçò ãéá íá êáôáíïÞóïõìå ôç æùÞ êáé ôçí íüçóç ìÝóá áðü ôéò áéóèÞóåéò. Ìéá ðñïóðÜèåéá íá äþóïõìå ìïñöÞ ó’ áõôü ðïõ âáèéÜ ìÝóá ìáò ïñßæåôáé ùò ïõóéþäåò, êáé óõìöùíåß ðÜíôá ìå ôï óõíáéóèÞìáôá êáé ôï Ýíóôéêôï ìáò. Ç âáèýôåñç äïìÞ ôçò ýðáñîçò ìáò ãåííÜ ôïí õðïëïãéóìü, ï ïðïßïò èá êáèïñßóåé ôçí éóïññïðßá êáé ôç óôáèåñüôçôá ôùí ìïñöþí êÜèå Ýñãïõ, åíþ ôáõôü÷ñïíá ðñïêýðôåé áðü áõôüí.Êáé åêåß åßíáé, ðïõ ï äçìéïõñãüò, ôï Ýñãï, êáé ï èåáôÞò, óõíáíôéüíôáé.

ÄçìÞôñçò ÁíäñåáäÜêçò

It is two years now, following closely the creation of the works of this ex-hibition, I have become a witness of the dedication with which, my friend George Avyeros has worked.The experience an artist gets, when observing the work of a colleague is ex-tremely revealing, even though, after all, the “obvious” is only confirmed, i.e. the relationship between what we see and what already exists inside our-selves.I believe George Avyeros perceives the procedure for creating a work of art and searching for its form, based on the idea that reality in art is something deeply artificial. His way of representing the reality is inseparably linked to his methods of construction. “Construction” has the force to charm and tickle his imagination; it is the three-dimensional means for his interpretation of the permanent character-istics of the objects that have volume.He works experimenting and has developed a deep knowledge and feeling of the materials he uses (plexiglas, transparencies, copper, iron, charcoal, paints, etc), attempting to put together his inventiveness and the physical properties of the materials, in order to express in his work the richness of the real existence. Neurobiology says that “vision is a successive sense”, which means that the brain has to combine many visual entries from different parts of the cerebral cortex, to process them both simultaneously and in parallel, before one is able to see and identify easily the isolated “object”.The procedure with which George Avyeros has chosen to create many of his works, but mainly his “Forests”, is close in a way to the above function of the brain. The form of his works derives from the transparencies on which different characteristic elements of the subject are drawn, arranged together with pieces of plexiglas or copper, that have been processed to the desired form, in order to reproduce the structural characteristics of the trunk or the leaves of a tree, or even further the sense of clear light these reflect.All these depictions and representations of the different elements are placed together, in sequence, into a transparent box, giving form to the image and creating the piece of work. An abstractive achievement that requires all the creative and critical abilities of the artist, so that he can choose, reject, compare selected information taken from nature, with stored recordings, in order to compose a new visual image that will not represent an external look, but will create an artistic event.We observe, so that we can acquire knowledge about the world, and we try to create works of art, so that we understand life and spirit through our senses. An effort to give form to what deeply in our mind is substantial and agrees with our feelings and instinct. A mutual relationship exists between the deeper structure of our existence and the equation that defines in each work the balance and stability of its forms. This is the point where the creator, the work of art and the spectator meet.

Dimitris Andreadakis

1998, Ãêáëåñß Titanium, ÁèÞíá

2002 Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá

1995, Ãêáëåñß Titanium, ÁèÞíá

Ï Ãéþñãïò ÁõãÝñïò ãåííÞèçêå óôá ×áíéÜ ôï 1953. ÓõììåôÝ÷åé

óå ïìáäéêÝò åêèÝóåéò ìå æùãñáöéêÞ áðü ôï 1973 - 1985.

Áðü ôï 1990 áó÷ïëåßôáé ìå ãëõðôéêÞ êáé êáôáóêåõÝò.

ÁÔÏÌÉÊÅÓ ÅÊÈÅÓÅÉÓ1992 Ãêáëåñß Ôitanium, ÁèÞíá1995 Ãêáëåñß Ôitanium, ÁèÞíá1995 Ãêáëåñß ÌõëùíïãéÜííç, ×áíéÜ1998 Ãêáëåñß Ôitanium, ÁèÞíá2002 Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá2003 Ãêáëåñß ÔæÜìéá-Êñýóôáëëá, ×áíéÜ2007 Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá

ÏÌÁÄÉÊÅÓ ÅÊÈÅÓÅÉÓ1991 Ãêáëåñß ÌõëùíïãéÜííç, ×áíéÜ1994 “¸êèåóç Óýã÷ñïíùí ×áíéùôþí Êáëëéôå÷íþí” Nåþñéá ×áíéÜ1996 “Åí ×áíßïéò”, Öñïýñéï ÖéñêÜ, Ãêáëåñß ÔæÜìéá-Êñýóôáëëá, ×áíéÜ1997 “Ïäüò Ðåéñáéþò-Ìåôáìïñöþóåéò åíüò âéïìç÷áíéêïý ôïðßïõ”, ÐåéñáéÜò1998 “ÐåéñáéÜò-ÅìðïñéêÝò êáé íáõôéëéáêÝò äñáóôçñéüôçôåò óôï ëéìÜíé”, ÊÝíôñï ÔÝ÷íçò ÊáóôÝëáò, ÐåéñáéÜò1999 “Óôï óôáõñïäñüìé ôçò ÊñÞôçò”, Ãêáëåñß ÔæÜìéá-Êñýóôáëëá, ×áíéÜ1999 “Árt quake”, Ìïõóåßï ÌðåíÜêç1999 Ãêáëåñß “Art forum”, Èåóóáëïíßêç1999 Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá2000 Ðïëýåäñï, ÐÜôñá2002 “×áíéþôåò äçìéïõñãïß”, ÄçìïôéêÞ ÐéíáêïèÞêç ×áíßùí2003 “Ïßêáäå”, ÊÝíôñï óýã÷ñïíçò ôÝ÷íçò Ñåèýìíçò2003 “Eí ðëù”, Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá2004 “Ïëõìðéáêü ðíåýìá & óýã÷ñïíç åëëçíéêÞ ôÝ÷íç”, ðåñéïäåýïõóá Ýêèåóç2003 - 2004 - 2005 - 2006 ÌéêñÝò æùãñáöéÝò, Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá2004 “ÔÝ÷íç íá ðáßæåéò”, Ãêáëåñß ÆïõìðïõëÜêç, ÁèÞíá2006 “Ðïñôñáßôá ×áíéùôþí óõëëåêôþí”, ÄçìïôéêÞ ÐéíáêïèÞêç ×áíßùí2006 “Çôáí êÜðïôå ç Ðçíåëüðç ÄÝëôá”, ÊïëëÝãéï Øõ÷éêïý

Yorgos Avyeros was born in Chania in 1953.

He participates in group exhibitions from 1973 - 1985.

Since 1990, he is concentrated in sculpture and con-

structions.

INDIVIDUAL EXHIBITIONS1992 Ôitanium Gallery, Áthens1995 Ôitanium Gallery, Áthens1995 Milonogianni Gallery, Chania1998 Ôitanium Gallery, Áthens2002 Zoumboulakis Gallery, Athens2003 Tzamia-Krystalla Gallery, Chania2007 Zoumboulakis Gallery, Athens

GROUP EXHIBITIONS1991 Milonogianni Gallery, Chania1994 “Exhibition of Contemporary Artists from Chania” Neoria , Chania1996 “In Chania”, Firka Fortress and Tzamia-Krystalla Gallery1997 “Piraeus street-Metamorphoses of Industrial landscape”, Piraeus1998 “Piraeus-commercial and marine activities of the port” Kastella Art Center, Piraeus1999 “At the Cretan cross road”, Tzamia-Krystalla Gallery, Chania1999 “Árt quake”, Benaki Museum1999 Art forum, Thessaloniki1999 Zoumboulakis Gallery, Athens2000 Polyedre Art Gallery, Patras2002 “Artists from Chania” Municipal Gallery of Chania2003 “OIKADE” Center for Contemporary Art, Rethymno2004 “The Olympic Spirit and Contemporary Greek Art” (touring exhibition)2003-2004-2005-2006 “Small Paintings” Zoumboulakis Gallery, Athens2004 “Art of Playing” Zoumboulakis Gallery, Athens2006 “Art of Playing” Zoumboulakis Gallery, Athens2006 “Penelope Delta” exhibition Athens College

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Ôï âéâëßï áõôü åêäüèçêå ìå ôçí åõêáéñßá ôçò Ýêèåóçò ôïõ Ãéþñãïõ ÁõãÝñïõ ðïõ Ýãéíå óôçí Ãêáëåñß ÆïõìðïõëÜêç ôïí Áðñßëéï ôïõ 2007.

ÅÊÔÕÐÙÓÇ: Âáóßëçò ÊáôïýöáòÌÅÔÁÖÑÁÓÇ: ÅëÝíç ÔæÜíïõÖÙÔÏÃÑÁÖÉA: Âáóßëçò ÊïæùíÜêçòlAyout: ÁëÝîáíäñïò Äñïóüðïõëïò

Contemporary Art / 20 Kolonaki sq / 106 73 Athens, GRTEL: 210-3608278 / FAX: 210-3631364