Τετάρτη 11 Σεπτεμβρίου 2019
CN: TheC2007beho MT: mixed media: China ink, gouache and India ink on touch paper on canvas (130x100) TX: signed with felt pen at rear upper right in Greek , inscribed IL: Megakles Rogakos 2008, #238 CT: Ekfrasi - Yianna Grammatopoulou, Athens - 2007 LC: Office of Junior College & General Studies Program CM: Portraiture has concerned Theofilis from his first encounter with art. Already in 1980 he began to reproduce (by mixing photography with painting) dolls, originally their severed heads, and then other of their parts in macabre conditions. Dolls for Theofilis are a substitute of the human presence. Through them he aimed to refer to the feeling of the loss of innocence. He was particularly interested to exhibit the fact that dolls as toy are brought forth - as is the case with living beings - from a mould. The heads he created were called Beholders wishing to make the point "they are beholders observing beholders". Theofilis' present Beholder began as an homage to Malevich. Following his instinct, this work developed from abstract composition to the rectangular figuration of a man, to whom Theofilis refers as a "mafioso during prohibitionism". As if by chance came the tie, which on the one hand rests directly - owing to the shirt's absence - on the Beholder's bare chest, serving as sole protection of his sensitive heart, and on the other - if it turns - may become a gullet, emblematic of the social conventions that overwhelm people. As known, the tie has been used by self-murderers as an immediately accessible means of suicide, especially in cases of amorous despair. The same tie may insinuate the Beholder's firm decisiveness to revenge an amorous injustice. The carpet of flowers on this macabre tie refers to the beauty experienced by the Beholder in the past. The background next to the border that frames the Beholder presents a blinding light in the form of fiery tongues, which have the capacity as much to destroy as to purify. [Megakles Rogakos 08/2007] BIBLIOGRAPHY: ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens
CN: TheC2007frag MT: mixed media: glass, plaster, PVC, China ink, gouache and glue on touch paper on canvas (130x120x9) TX: signed with pencil at lower right of picture in Greek IL: Megakles Rogakos 2009, p.90-91 CT: Art-Act, Athens - 2009 CM: In its abstractedness the visual speech of Christos Theofilis is poetic. With his Fragile Journey he explores the concept of man's sensitive path in life. In the heart of the composition appears a rectangular map, where dark inks corrode the walls of a perimetrical series of luminous glasses that attempt in vain to contain them. In the map's center four transparent glasses, which open outwards towards different directions, create a compass. Where their bases meet, the glasses form a circle as a target. A real tavern glass is placed of the map's upper side and presents the glass as a fragile material. From within it rises the figure of Icarus, who made the first trip flying, with the wings still attached on his back. Therefore, Theofilis negotiates the meaning of the fragile journey as a daring deed in life. Let the impetus Icarus' flight gave to the invention of the airplane not be overlooked. By extension Theofilis' Fragile Journey can be redefined as the adventurous life of Lafcadio Hearn. In actual fact Lafcadio had covered the world's four cardinal points - the East with Greece; the North with the United Kingdom; the West with America; and the East with Japan. To become a citizen of the world, Lafcadio had to have a vision, and this vision made him fragile. However, despite the dangers Lafcadio risked taking the trip to the end. His life was essentially a travelogue in the fragility of the human condition. To this life is also owed the fragility of Lafcadio's poetry, which strums inner chords. Notwithstanding the subject, the Fragile Journey relates to the Japanese technique and aesthetic. On the one hand the artwork was largely created of Japanese paper, and on the other hand the inks were used with a Japanese sensibility that brings forth the transparency of materials. With Fragile Journey Theofilis is obviously concerned about the internal journey of spiritual silence. The arrows that surround the human figure on either side symbolize exaltation - the flight of the soul and the spirit. [Megakles Rogakos 01/2009] BIBLIOGRAPHY: ROGAKOS, MEGAKLES The Open Mind of Lafcadio Hearn 2009 The American College of Greece - ACG Art, Athens
CN: TheC2007beho
MT: mixed media: China ink, gouache and India ink on touch paper on canvas (130x100)
TX: signed with felt pen at rear upper right in Greek <CTheofilis / 2003-2007 / CHR.N.THEOFILIS>, inscribed <Viewer>
IL: Megakles Rogakos 2008, #238
CT: Ekfrasi - Yianna Grammatopoulou, Athens - 2007
LC: Office of Junior College & General Studies Program
CM: Portraiture has concerned Theofilis from his first encounter with art. Already in 1980 he began to reproduce (by mixing photography with painting) dolls, originally their severed heads, and then other of their parts in macabre conditions. Dolls for Theofilis are a substitute of the human presence. Through them he aimed to refer to the feeling of the loss of innocence. He was particularly interested to exhibit the fact that dolls as toy are brought forth - as is the case with living beings - from a mould. The heads he created were called Beholders wishing to make the point "they are beholders observing beholders".
Theofilis' present Beholder began as an homage to Malevich. Following his instinct, this work developed from abstract composition to the rectangular figuration of a man, to whom Theofilis refers as a "mafioso during prohibitionism". As if by chance came the tie, which on the one hand rests directly - owing to the shirt's absence - on the Beholder's bare chest, serving as sole protection of his sensitive heart, and on the other - if it turns - may become a gullet, emblematic of the social conventions that overwhelm people. As known, the tie has been used by self-murderers as an immediately accessible means of suicide, especially in cases of amorous despair. The same tie may insinuate the Beholder's firm decisiveness to revenge an amorous injustice. The carpet of flowers on this macabre tie refers to the beauty experienced by the Beholder in the past. The background next to the border that frames the Beholder presents a blinding light in the form of fiery tongues, which have the capacity as much to destroy as to purify.
[Megakles Rogakos 08/2007]
BIBLIOGRAPHY:
ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens
MT: mixed media: China ink, gouache and India ink on touch paper on canvas (130x100)
TX: signed with felt pen at rear upper right in Greek <CTheofilis / 2003-2007 / CHR.N.THEOFILIS>, inscribed <Viewer>
IL: Megakles Rogakos 2008, #238
CT: Ekfrasi - Yianna Grammatopoulou, Athens - 2007
LC: Office of Junior College & General Studies Program
CM: Portraiture has concerned Theofilis from his first encounter with art. Already in 1980 he began to reproduce (by mixing photography with painting) dolls, originally their severed heads, and then other of their parts in macabre conditions. Dolls for Theofilis are a substitute of the human presence. Through them he aimed to refer to the feeling of the loss of innocence. He was particularly interested to exhibit the fact that dolls as toy are brought forth - as is the case with living beings - from a mould. The heads he created were called Beholders wishing to make the point "they are beholders observing beholders".
Theofilis' present Beholder began as an homage to Malevich. Following his instinct, this work developed from abstract composition to the rectangular figuration of a man, to whom Theofilis refers as a "mafioso during prohibitionism". As if by chance came the tie, which on the one hand rests directly - owing to the shirt's absence - on the Beholder's bare chest, serving as sole protection of his sensitive heart, and on the other - if it turns - may become a gullet, emblematic of the social conventions that overwhelm people. As known, the tie has been used by self-murderers as an immediately accessible means of suicide, especially in cases of amorous despair. The same tie may insinuate the Beholder's firm decisiveness to revenge an amorous injustice. The carpet of flowers on this macabre tie refers to the beauty experienced by the Beholder in the past. The background next to the border that frames the Beholder presents a blinding light in the form of fiery tongues, which have the capacity as much to destroy as to purify.
[Megakles Rogakos 08/2007]
BIBLIOGRAPHY:
ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens
MT: mixed media: China ink, gouache and India ink on touch paper on canvas (130x100)
TX: signed with felt pen at rear upper right in Greek <CTheofilis / 2003-2007 / CHR.N.THEOFILIS>, inscribed <Viewer>
IL: Megakles Rogakos 2008, #238
CT: Ekfrasi - Yianna Grammatopoulou, Athens - 2007
LC: Office of Junior College & General Studies Program
CM: Portraiture has concerned Theofilis from his first encounter with art. Already in 1980 he began to reproduce (by mixing photography with painting) dolls, originally their severed heads, and then other of their parts in macabre conditions. Dolls for Theofilis are a substitute of the human presence. Through them he aimed to refer to the feeling of the loss of innocence. He was particularly interested to exhibit the fact that dolls as toy are brought forth - as is the case with living beings - from a mould. The heads he created were called Beholders wishing to make the point "they are beholders observing beholders".
Theofilis' present Beholder began as an homage to Malevich. Following his instinct, this work developed from abstract composition to the rectangular figuration of a man, to whom Theofilis refers as a "mafioso during prohibitionism". As if by chance came the tie, which on the one hand rests directly - owing to the shirt's absence - on the Beholder's bare chest, serving as sole protection of his sensitive heart, and on the other - if it turns - may become a gullet, emblematic of the social conventions that overwhelm people. As known, the tie has been used by self-murderers as an immediately accessible means of suicide, especially in cases of amorous despair. The same tie may insinuate the Beholder's firm decisiveness to revenge an amorous injustice. The carpet of flowers on this macabre tie refers to the beauty experienced by the Beholder in the past. The background next to the border that frames the Beholder presents a blinding light in the form of fiery tongues, which have the capacity as much to destroy as to purify.
[Megakles Rogakos 08/2007]
BIBLIOGRAPHY:
ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens
CN: TheC2007beho MT: mixed media: China ink, gouache and India ink on touch paper on canvas (130x100) TX: signed with felt pen at rear upper right in Greek , inscribed IL: Megakles Rogakos 2008, #238 CT: Ekfrasi - Yianna Grammatopoulou, Athens - 2007 LC: Office of Junior College & General Studies Program CM: Portraiture has concerned Theofilis from his first encounter with art. Already in 1980 he began to reproduce (by mixing photography with painting) dolls, originally their severed heads, and then other of their parts in macabre conditions. Dolls for Theofilis are a substitute of the human presence. Through them he aimed to refer to the feeling of the loss of innocence. He was particularly interested to exhibit the fact that dolls as toy are brought forth - as is the case with living beings - from a mould. The heads he created were called Beholders wishing to make the point "they are beholders observing beholders". Theofilis' present Beholder began as an homage to Malevich. Following his instinct, this work developed from abstract composition to the rectangular figuration of a man, to whom Theofilis refers as a "mafioso during prohibitionism". As if by chance came the tie, which on the one hand rests directly - owing to the shirt's absence - on the Beholder's bare chest, serving as sole protection of his sensitive heart, and on the other - if it turns - may become a gullet, emblematic of the social conventions that overwhelm people. As known, the tie has been used by self-murderers as an immediately accessible means of suicide, especially in cases of amorous despair. The same tie may insinuate the Beholder's firm decisiveness to revenge an amorous injustice. The carpet of flowers on this macabre tie refers to the beauty experienced by the Beholder in the past. The background next to the border that frames the Beholder presents a blinding light in the form of fiery tongues, which have the capacity as much to destroy as to purify. [Megakles Rogakos 08/2007] BIBLIOGRAPHY: ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece - ACG Art, Athens
Εγγραφή σε:
Αναρτήσεις (Atom)
