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Parafernalia – parallels & exemptions

Since the time of the Renaissance, the perspective on the basis of which the image of the cosmos was depicted has presupposed the existence of a basic centre. That centre corresponded to the human gaze (hence what is called ‘anthropocentric’ perspective),. To the weights and measures, the surfaces and the depth of the horizon it reached, As a result, the optical illusion triumphed, while distances could be measured and secured in terms of physics and mathematics against enxiety of any kind. […] […] In the works of Maria Ktistopouloy= who has pted for realiste depiction- one can identify precisely such rovings of the eye. In hes earlier creatice period, her faces encountered us, and we encountered them,. Through unexpected angles of vision: they were hidden in the time and myths of history, in works of art and memory, of human experience and of wondering about the stamina of existence amid the balances among them,. Always, at risk. We judged, and were judged by, their emignatic, puzzled gaze, which advocated what they were hiding rather than that which they allowed to appear on the surface of their “speech”, waiting as they were for a response from us, the illusions of life, the vanity of our securities and the Utopias of things. In her most recent unit of work, Maria Ktistopoulou, has altered not just the angle of the perspective from which she views her subjects, but also the subject itself, since in her painterly language the two are always indentical., In parallel to, and exempt from, the epicenter of everyday life, she shows us the secondary spaces of what we might call the sidelines of life customs, those connected with its “behind- the scenes” dimension. Dining-rooms before or after the meal, in the light of the dawn or the setting sun, times of rest or abandonment, moments of expecta- tion or of withdrawal, corridors and storero0oms, places of interaction and alienation, with foodstuffs and human beings consumed by the mechanisms and the opaque functions of everyday practice and thay which the lights of the front stage has never turned into the centre of apparently significant roled and values- all these are projected in visual form by means of irregural lines of perspective. In them works of this painter, the line of the horizon becomes significant on these domenstic landscapes of isolation and silence., of light andfa flashers of brilliance, of shades and of reflections. In this case, realism. Serves, the clarity and purity of each form in the compositional arrangement of verisimilitude which it represents. However, the colour and light to which it gives rise, with tonal gradations from plane to plane, reveal the depth, the radiance, the allusivences and the i9ntensity of the dialogue among “things” when illusions have shifted away from them.[…] 

Athena Schina 

Κριτικός & Ιστορικός τέχνης