Athens 1997


Archimedes, 287 B.C. -212 B.C.



Theodoros, sculptor, ..1997 A.C.




When the space of communication is inundated with audio-visual information, where can be found any space for sculpture?

When sculpture is understood as the plastic language, which communicates through tactile materials, diachronically, beyond the actuallity of the ephemeral image.

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 civilization?

When Civilization 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.

                            From the materials of nature to the forms of sculpture
                            From the forms of art to the materials of sculpture




Athens, 1997


ATOPA* is a greek word that means ‘out of place. without a place’ 

Tile-grave of classical period in Theodoros studio.
"Chthonic - Apotropaic",1994
in tile-grave of classical period in Theodoros studio.

I encountered the work of Theodoros when it was presented in Greece at the special exhibition thatwas organized in 1963 for the members of the International Union of Critics, the well-known
Since then, more than 35 years of a fertile artistic journey have passed, and I have had many opportunitiesto follow closely his existential anguish and his intellectual questioning. Every time I have been noting theindomitable will of a talented and authentic creator who overcame multiple adversities with courage andpersistence, recomposing every time his artistic field with passion and conviction. His personal plasticidiom, discovered with love and knowledge, has allowed him to establish early on his unique artisticpresence in the wider European art scene.
From the first recognisable forms of his work until the sculptural compositions of the last period – where”Clepsydra ’99”, presented in the International Exhibition “OPEN ‘999”, has
prominent position – Theodorosknows very well how to dominate his material and reveal to all of us that measure and order arefundamental concepts of BEING and of the COSMOS. In the evolution of his work he chooses consciouslyto rid himself of any relation with a represented reality, to reject the realistic appearance of things and toabandon the conventional use of sculptural materials, in order to express, freely and metaphorically, thosematters that concern him, the big existential questions that trouble him.
We have, in the person of Theodoros, a charismatic creator of the plastic arts who knows very well howto express his own reality and remodel its elements in a perpetual dialectic between art and society.
Theodoros ‘s work is an authentic expression of his doric homeland and his cosmopolitan education. Hebrings his personal voice to the field of Greek plastic arts and creates, free from external rules, with afeeling of internal discipline, trying to explore, to assimilate and to give form to that which he believes to bea universal human visionSculture – Installation realised in the framework of the SYmposium of Sculpture “Simppetra’, where the main material was stone frome the quarries of the area – marbles, granites, in varrious hues. 

The central concept is composed as a “gate”, as it was designed to function as a “counterpoint” to the previous installation in Instambul, IN – BETWEEN. 

Four rectangular blocks of local stone in equal dimensions. Two of them interlocked to create a triangular arc, which is set upright on two other blocks of stone, horrizontaly placed and balanced by their weight. 

The whole composition is connected with the rope from the local harbour, while on the horizontal surface the four points of the horizon are carved. 


Athens, January 2001 Mary Mihailidou, Art Historian

Clepsydra at OPEN 1999, Lido, Venezia
Clepsydra at the NTUA Campus, Zografou