Epi ton typon ton ilon / Into the print of the nails
The artist Andreas Nicolaou, presents at the Archaeological Museum of Patras, the art installation entitled “Epi ton typon ton ilon / Into the print of the nails”. The title of the installation, has been taken from one of the six paintings that are included in it. In this painting, the finger is placed in the wound of the Greek flag, bringing us face to face with the wounds of our time and challenging us to put a finger on them to wonder and perhaps eventually be convinced that they are real.
The art installation “Epi ton typon ton ilon / Into the print of the nails” is also an ongoing art project and it has been presented for the first time in Art Athina 2016, International Art Fair of Contemporary Art. For the hospitality at the Archaeological Museum of Patras, new works have been added, complementary and evolutionary to the first group of paintings. Our goal is the project to be hosted in the future in other important cultural sites, both in Greece and abroad.
Yiannis Bolis, art historian, writes about “Epi ton typon ton ilon / Into the print of the nails”:
In direct correlation with the emotional, mental and experiential behaviours, the artwork by Andreas Nicolaou looks into the human condition, alienation and the dramatic nature of the human condition in a hostile and fragmented world, raising questions on the existential and ontological order, thus maximizing the significance of its implications. The plasticity of the forms, the critical contrast of light and shadow, the treatment of the relationship between form and space in a remarkably plain, suggestive and dramatic manner and a special sense of monumentality contribute decisively to the unique painting sensitivity, to the intensity of his themes, the core of which has always been man and his destiny. Recurring themes, such as the sensual male and female nudes, are charged with the indicative meaning ascribed by Nicolaou and the manner in which he develops and transfigures them by means of a mature technique, demonstrating a painfully conquered eloquence in the treatment of the language: richer narratives, more in-depth symbolisms, outstandingly well-combined tempo, forms provoking a sense of direct physical experience and intimate contact, while simultaneously distancing themselves, experiencing their own secret life.
Andreas Nicolaou validates the economy of expressive means, consistency, cohesion and the quality of his morphoplastic quest. His dedication and experimentation of a particular way, his ability to draw a content rich in tones and innerness, is open to multiple interpretations and connotations. Notions of Sleep, Love and Death become entangled in an unbroken unity with religious and mythological references claiming a leading role. The modern Pieta with her sacerdotal posture and tenderness, the unresisting tragedy of the tradition of the theme and the contact developed between the woman and the man where the dramatic feeling of loss coexists with the serene impression of acceptance and elegiac grief, as well as the voluptuous naked bodies of the young girls in the arms of Morpheus compose an unexpected universe of images. In fact, they create an almost metaphysical-mystical atmosphere, they transmit and preserve unaltered the primary emotion, the truth and the distinguishing romantic character of their theme, they approach the deeper essence of the forms, which seem to have lost their material, earthly existence being transformed into symbols and allegories. The lonesome, fragile and erotic bodies appear to emerge from the light and sink into darkness, levitate on the threshold between reality and its spectral-dreamlike reflection, on the fringes of an intermediary world, surrendered and exposed to an inescapable predestination, to inner ellipticity and significance, neutral and fragmentary, to moments frozen and unalterable in space and time. The viewer is confronted with this “landlocked” world, the borders of which coincide with the borders of the composition, a world of imperturbable and eerie silence and tranquillity where the representation retreats in the course of the revelation of what is kept hidden below the surface, the mysterious, ambivalent and magical power of the image, which acquires its own defence and life. Furthermore, compositions such as Pieta, young girls screaming in anguish and rage, but most of all Epi ton typon ton ilon, echo the experiences, the response and the critical stance of the artist towards his contemporary realities, documenting moments of the trauma and dead ends of an alienated, transitional and unpredictable era.
Curators: Liana Zoza, Yiannis Bolis
Exhibition Duration: 23rd June – 31st August 2017
Opening Hours: Every day 08.00 – 20.00