In Paris between 1962 and 1969 Theodoros developed the series Delphics (Delfika). It was in his last work from Gates, Pegasus (Pigasos, 1962), that mythological references first emerged and with Delphics he explored these further.
The use of mythology was not illustrative. Rather, he used mythology in an anthropological sense, exploring its deep structural dimensions.
With Delphics he tried to develop some kind of post-industrial mythology.
Theodoros combined formal references alluding to ancient Greece and to the oracular function of Delphi with the use of the archetypal material of the industrial revolution – steel.
“The sculpture “Insect Hanging from a Bicycle Wheel”, realised in Paris the year 1963, was conceived as ” Hommage to the Fifty Yearsof the Bicycle Wheel of Marcel Duchamp in 1913”.
Nevertheless, this ”homage” was never revealed until 1988. Because the dialogue with the “Duchamps’ Wheel” was evident as been part of the art-object’s language. I did not want my sculpture to be covered with an aesthetic ”avant garde” discourse.
The sculpture was shown for the first time in the ”Salon de Comparaisons”, in the Museum of Modern Art, in Paris, 1964.”
"The Sculpture "Carnage 63-65" was conceived and realised in Paris between 1963 and 1965, as an "Hommage to Cyprus". But this dedication passed over in silence, because I did not wish that my art-object would be associated with "patriotic idealism" See: "Manipulation X", October 1973.
The sculpture was shown for the first time in the "Salon de Realites Nouveles", in Paris, February 1964."
Theodoros, sculptor
Theodoros, sculptor
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