‘Caryatids ’94’ are aspects of a fractured world that balances between its aesthetic perception and its historical perspective.
Theodoros’ work fits within the conditions of the social lifeworld, and constitutes part of it. His plastic concern is not confined to the visual art of meaning, as he aims for the communicative technique of understanding. He does not propose a utopia of reconciliationand communication; rather, he believes that the chasms and fissures of the fractured world can become communicatie places for a sculpture whose expression and meaning mediate negatively.
‘Caryatids ’94’ are neither the opposite of the Caryatids of the ancient world nor their complement. They are the aesthetic perception of the irreconcilable urban world that manages to develop mechanisms of communication nonetheless. Theodoros’ sculpture is projected as this kind of quintessential communiative mechanism, for it balances between the negative mediation of expression and meaning