liquid marble
Back in my studio at the Fine Art School and while completing the second year of my Master Degree, there was a specific route that I would walk through to get in the Master’s building from the gate of the school.
At the entrance, you would walk by an industrial building with graffitti on its wall in a maddy path where plenty of cats and dogs, would stroll or hang around. There was a single cat that would follow me to my studio and stay with me while working in the studio.
Passing the entrance I would walk through the main building, exit on the left finding myself in an open space that was the “crossroad” between the staircase leading to my building , the department of sculpture and the back side of some painting labs. There there were plenty of fragmented marbles and larger pieces of white marble that I would see every day. During this period, I would experiment with typography,
imagery and would frequently screen print on any surface I could find really.
Since early stages I wished to create installations with objects fully covered with my patterns and art stuff.
In an attempt to make full use of the properties and the possibilities that screen printing allows to enjoy, I have been printing on various types of surfaces and materiasl. Both natural and synthetic. From tree leaves to fine fabrics to heavy velvet to rain coats and shoes to marble and wood and walls and paper and canvas of course.
From all materials and surfaces the ones I found to interest me the most, and to be most effective both visually and sentimentally, have been the fabrics and the marble.
The artworks that follow have been exhibited in the gallery fair Art Athina, with the Kappatos Gallery. The fellow par- ticipant artists were Marina Abramovic and Linda Benglish.
Crafted from the finest Greek marble,
a material that has been the cornerstone of classical beauty and architectural prowess, the artwork carries the weight of
history in its veins. The marble’s natural patterns, formed over millennia, provide a unique canvas that tells the story of time itself.
Adorning this age-old material is a silver silk screen print, a modern method that contrasts sharply with the marble’s ancient form.
The print introduces a layer of modernity, superimposing a lustrous, metallic sheen onto the marble’s matte elegance.
The artwork thus becomes a dialogue between the old and the new,
the eternal and the ephemeral.
The choice of silk screen printing, a technique popularized in the 20th
century, invokes the spirit of innovation and mass communication, while the silver hue carries connotations of technology and the future.
This juxtaposition is not merely aesthetic but conceptual, inviting contemplation on the intersections of time, materiality, and artistry.
