by THEODOROS GEORGIOU
The sculpture of Theodoros, as plastic language, is not articulated only at the level of the esthetic techniques but also intervenes in the constitution of the social life-world. The interest in his recent experimental work resides in the allocation of "atopia", as the pragmatological situation of the contemporary human Being. The connection between the social life world and sculpture in the art of Theodoros functions as a social practice, which seeks an esthetic and, at the same time, a social dynamic "topos" (place).
Surpassing the limits of the social division of labor, sculpture, according to Theodoros, has not as its scope the depiction of exterior totality, even in its negative aspect. Instead, it tries to conceive the communicative dynamic, which develops between humankind and his historical creations. Theodoros believes that sculpture functions as the diachronic level of social reflection; it is the conscience which is formulated by the communicative connection between art and social life. To the extend that the social life-world is rationalized, sculpture detects the "atopia" of "no man's land". Art is born from the fragments of the esthetic form and its legitimacy depends on the degree of rationalization of social life-world.
The work of the sculptor Theodoros does not formulate a grammar of esthetic rationalization, but a theory of the pragmatological "atopia" of the human Being, in the era of telecommunication. The semantic system of the expression in his sculpture is "manufactured" from the material of the negative mediation between man and nature. The transfer from the natural material to the forms of sculpture is not subject to esthetic rules, but is connected with the dialectic communication between the esthetic material and social rationality. The esthetic synthesis results from the "atopic" images of the world, which society itself creates. Theodoros' sculpture is meant as "material art" and as such it is the conscience of social "atopia". The truth of esthetics is not a matter of artistic validity but of communicative "εν-τοπία" " (in-place) in an instrumental world. Then sculpture refers to the reality in the "atopic" version of its communicative structure.
What is engraved in Theodoros' sculpture is the communicative dynamic of a society which is (not) conscious of its weakness to be transformed into a cultural convention.
Between social rationality and the natural materiality mediates the "atopic" condition of his sculpture, as a proposition for an esthetic transformation of the social life-world.
*A-topia: From the Greek word "topos" = place. It is used in the sense of Utopia, but instead of U it is placed A.