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CLEPSYDRA

"When the space of communication is inundated with audio-visual information, where can any space for sculpture be found? Here is the critical question: How can a sculptor in our era break through the screens of the “a-topian image” in order to function in the diachronic “depth of field” of art as communication, which gives content to civilisation? When Civilisation is understood as a field of qualitative co-existence and as a vital element of social life, for the natural survival of humankind on earth".  (Theodoros, 1997).

   

CLEPSYDRA - ΚΛΕΨΥΔΡΑ - CLESSIDRA

 

                                                                                                                             EFI STROUZA

 

    Theodoros' work Clepsydra, executed specially for the Open '99 exhibition, is in essence a summing up of the mental and ideological content of the oeuvre of this important Greek artist and also of his plastic vocabulary. Theodoros could be seen as one of the clearest and most interesting continuators and modern exponents of a humanist tradition in sculpture, in the sense that he is a sculptor who retains a firm and universal overview of the shifting relationship between man, space and objects in modern and contemporary society. That is why, from a very early date, his interest focused on public space. In that approach, Theodoros has distinguished himself for his great sensitivity and perspicacity in relation to the plastic and ideological ways in which space is occupied. In his sculptural oeuvre, the emphasis is placed not on the geocentric gravity of the plastic object or on spectacular gestures of intervention in natural or urban space, but on the value and significance of the plastic act as an extrapolation of a tactile contact with material which extends to take in an anthropocentric dimension. With this consideration as his central axis, Theodoros has, since the mid-Sixties, developed a series of unusually allusive and poetic treatments of the concept of sculpture and the plastic act. The multitude of linguistic treatments which Theodoros elaborates are in a state of constant shift between two principal poles of thought: the anti-spectacular element, and the concept of balance. The reciprocal relationship between these two essential loci of sculpture lead to the definition of the Ά-τοπον (out of place, without place)  and of the Μεταίχμιον (borderline) - that is, of the notional points which determine the plastic modes by which public space can be re-occupied within the cultural process of the given era.

    The system of multiple planes in linguistic communication upon which Theodoros has developed his plastic treatments, involving visual, physical, aural and gustatory contact between the public and the work of art, reconstructs in three-dimensional space (and in the flow of historical time) the image of the pendulum, of walking the tightrope of a notional line connecting the closed morphological pattern of human civilisation with the open, unmoulded cosmos of which man forever dreams. The sense of being constantly poised in mid-air among various types of formal organisation or of cultural behaviour and their potential transformation into a fluid relationship with space and time is one of the motifs always present in Theodoros' sculptural act.

    In Clepsydra, dedicated to the transition from one millennium to the next, Theodoros extends his thinking to the reciprocal relationship between space and time. Time is perceived as a rational structure in which experience takes on a specific material existence purely and simply to negate fixed form, and its balance in space. This is achieved by means of constant shifts in the point of view, by the alternation inherent in every natural phenomenon, and by the mutation in all forms and presences, natural or artificial, which, in perceptible and tangible reality, inevitably flows between the banks of specific time (the present) and indefinite time (the past or the future).

                                                                                                                              Efi Strousa

Translation: John Solman 

 

 

 

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