Wall Series Catalog

download Wall Series Catalog

of 32

  • date post

    17-Mar-2016
  • Category

    Documents

  • view

    218
  • download

    2

Embed Size (px)

description

Catalog of painting exhibition

Transcript of Wall Series Catalog

  • WALL SERIES

    George Politis

    2013Thessaloniki 2013

  • , pipi pi , pi, pi , pi pi pi pi pi , pi , pi , , .

    pi , pi , pi , , , , pi , pi .

    , , pipi , pi pi , pi, pi pi pi .

    pi pi 1940, pipi (Jackson Pollock, Willen de Kooning, Franz

    Kline, Mark Rothko) , 70 , 21 , pi pi.

    pi pi pi , , pi pipi pi .

    pipi, pi (pi, , , ..), pipipi pi, pi , , , pipi pi pi pi .

    , pi , pi pi pi, pi pi pi pi , pi , pipi.

    , , pi , pi pi , pi , pi , pi pi, , .

    , pi, , pi pi, , pi pi , pi pi pi pi.

    pi , , , pi pi, pi pi pi pi, pi, ' , pi , pipi pi pi pi pi .

    -pi,

    The free, personal interpretation of the outside world and everything related to it on the level of artistic expression has yielded, to this day, apart from the established characteristics, iconographic and conceptual capacities and morphoplastic interpretations of complex linear themes stressed by chromatic vibrations, connotations and shapes, all smoothly orchestrated in their variation.

    Through a bold approach and always seeking for new expressive capacities, George Politis turns through his recent series to compositions where the tectonic character of the organization, despite its capacity to fuse a multitude of contrasts schematically, chromatically and materially, seems to be fueled by an internal function which harmonizes and completes the image.

    Throughout the internal structure of every array, the fusion of realistic images, persons and items with imagination and the allusion to semiologic details among linearly or freely rendered forms are leading to the formalism of an abstract expressionism that consists a field of new pursuits for George Politis.

    A movement that first appeared at the beginning of the 1940's with important representatives in the history of art (Jackson Pollock, Willen de Kooning, Franz Kline, Mark Rothko) and now, 70 years

    stlater, at the start of the 21 century is reviving in new formats.

    The mutually supported elements in the compositions of George Politis are apparently boosted by an internal need for interaction, forming this way the units of a newfound autonomy and promoting the internal rhythm of an insoluble unity in an admirable way.

    Furthermore, the mixed, mutually overlapping techniques (various chromatic materials, newspapers, posters etc.) are referring to palimpsests and are leading us to think that the whole procedure is taking place in order to preserve vibrant through time, like memories, the impressions of the various interlocking elements, that were used for a certain amount of time.

    As a result, throughout these complex images, apart from the architectural organization of the painting surface we can observe the course from the known, visible surface to the unknown depths and the ability for a symbolic extension from the composition to the whole array that can be perceived in various ways.

    Partial words and numbers, dates, parts of familiar figures, elements from removed posters, newspapers and various other materials suitably interesting for George Politis consist, in a metaphorical way, his Series of walls, which obtain a monumental character through their conceptual objectives.

    By now, they serve as a historical, calendar-like recording of everyday visual experience, over which the gestural, calligraphic or more spontaneous writing fulfills and designates a new way of reality perception.

    The turning of the painting surface into dynamic forces, motion and mystical voices, which are but regresses to events and acts, concentrates the artist's intention to shape, in a modern, anecdotal way his personal interests which act around us and are multiply experienced and usually unnoticed due to the everyday strife.

    Elli-Kokkini KaplaniHistorian, Art Critic

  • , pipi pi , pi, pi , pi pi pi pi pi , pi , pi , , .

    pi , pi , pi , , , , pi , pi .

    , , pipi , pi pi , pi, pi pi pi .

    pi pi 1940, pipi (Jackson Pollock, Willen de Kooning, Franz

    Kline, Mark Rothko) , 70 , 21 , pi pi.

    pi pi pi , , pi pipi pi .

    pipi, pi (pi, , , ..), pipipi pi, pi , , , pipi pi pi pi .

    , pi , pi pi pi, pi pi pi pi , pi , pipi.

    , , pi , pi pi , pi , pi , pi pi, , .

    , pi, , pi pi, , pi pi , pi pi pi pi.

    pi , , , pi pi, pi pi pi pi, pi, ' , pi , pipi pi pi pi pi .

    -pi,

    The free, personal interpretation of the outside world and everything related to it on the level of artistic expression has yielded, to this day, apart from the established characteristics, iconographic and conceptual capacities and morphoplastic interpretations of complex linear themes stressed by chromatic vibrations, connotations and shapes, all smoothly orchestrated in their variation.

    Through a bold approach and always seeking for new expressive capacities, George Politis turns through his recent series to compositions where the tectonic character of the organization, despite its capacity to fuse a multitude of contrasts schematically, chromatically and materially, seems to be fueled by an internal function which harmonizes and completes the image.

    Throughout the internal structure of every array, the fusion of realistic images, persons and items with imagination and the allusion to semiologic details among linearly or freely rendered forms are leading to the formalism of an abstract expressionism that consists a field of new pursuits for George Politis.

    A movement that first appeared at the beginning of the 1940's with important representatives in the history of art (Jackson Pollock, Willen de Kooning, Franz Kline, Mark Rothko) and now, 70 years

    stlater, at the start of the 21 century is reviving in new formats.

    The mutually supported elements in the compositions of George Politis are apparently boosted by an internal need for interaction, forming this way the units of a newfound autonomy and promoting the internal rhythm of an insoluble unity in an admirable way.

    Furthermore, the mixed, mutually overlapping techniques (various chromatic materials, newspapers, posters etc.) are referring to palimpsests and are leading us to think that the whole procedure is taking place in order to preserve vibrant through time, like memories, the impressions of the various interlocking elements, that were used for a certain amount of time.

    As a result, throughout these complex images, apart from the architectural organization of the painting surface we can observe the course from the known, visible surface to the unknown depths and the ability for a symbolic extension from the composition to the whole array that can be perceived in various ways.

    Partial words and numbers, dates, parts of familiar figures, elements from removed posters, newspapers and various other materials suitably interesting for George Politis consist, in a metaphorical way, his Series of walls, which obtain a monumental character through their conceptual objectives.

    By now, they serve as a historical, calendar-like recording of everyday visual experience, over which the gestural, calligraphic or more spontaneous writing fulfills and designates a new way of reality perception.

    The turning of the painting surface into dynamic forces, motion and mystical voices, which are but regresses to events and acts, concentrates the artist's intention to shape, in a modern, anecdotal way his personal interests which act around us and are multiply experienced and usually unnoticed due to the everyday strife.

    Elli-Kokkini KaplaniHistorian, Art Critic

  • 300Mixed media, 60x80 cm

  • 300Mixed media, 60x80 cm

  • WannabeMixed media, 50x70 cm

    Malena IIMixed media, 100x120 cm

  • WannabeMixed media, 50x70 cm

    Malena IIMixed media, 100x120 cm

  • On the rocksMixed media, 50x30 cm

    Mixed media, 20x30 cm

  • On the rocksMixed media, 50x30 cm

    Mixed media, 20x30 cm

  • UVMixed media, 30x50 cm

    Money rulesMixed media, 50x30 cm

  • UVMixed media, 30x50 cm

    Money rulesMixed media, 50x30 cm

  • Its never too lateMixed media, 80x60 cm

    The power behind ... ?Mixed media, 80x60 cm

  • Its never too lateMixed media, 80x60 cm

    The power behind ... ?Mixed media, 80x60 cm

  • ATOMMixed media, 120x100 cm

    SquaredMixed media, 40x40 cm .

  • ATOMMixed media, 120x100 cm

    SquaredMixed media, 40x40 cm .

  • Les Miserables IMixed media, 120x80 cm

    Les Miserables IIMixed media, 120x80 cm

  • Les Miserables IMixed media, 120x80 cm

    Les Miserables IIMixed media, 120x80 cm

  • Do the eyes tell the truth?Mixed media, 100x150 cm

    Wanted...Mixed media, 50x80 cm

  • Do the eyes tell the truth?Mixed media, 100x150 cm

    Wanted...Mixed media, 50x80 cm

  • This world will never changeMixed media, 100x120 cm

    Les LazaristesMixed media, 50x70 cm

  • This world will never changeMixed media, 100x120 cm

    Les LazaristesMixed media, 50x70 cm

  • HorrorMixed media, 60x80 cm

    MosMixed media, 30x50 cm

  • HorrorMixed media, 60x80 cm

    MosMixed media, 30x50 cm

  • NutsMixed media, 50x30 cm

    ZolaMixed media, 100x120 cm