Posted in Critics

What Maria attempts with her artistic work (photographs and paintings) is condensed in the phrase “man of the future”, a notion of what a human could be, of where its potentials and dynamics are to be found.  She positions this “man of the future” in the historical space-time in which she moves either with the nature as a background, or with the ruins of antiquity and simple abandoned houses.

A ruin becomes a “ruin of future” signifying that the remains of the “historical” objects (ancient temples or ruins) are reborn in the present time with a new functionality and a new identity attributed a new value (philosophical, aesthetical, ethical) for their future existence. The ruin is an action of the historical subject, in other words an action of the human being. At the same time it is a work of nature. Within the social becoming as much as within the nature’s becoming in general the ruin can be transformed into a “ruin of the future” because it bears (symbolically speaking) the “becoming” of human and nature: Birth, decay, dying, new birth. History reveals the way through which society is transformed, revealing our actual and diachronically enduring purposes, needs and ideals. It reveals the laws of social evolution that are akin to the laws of nature, of all physical systems. Maria emphasizes the aesthetic unity our World. Her creations indicate the potential of a harmonious existence with the surroundings, how we could move forward wiser in a better future.

The “dancer” of the pictures is a symbol of a “historical” movement. In many pictures you can see what we would call “ historical turn”: the body moves decisively forward driving into the future while the head is gazing at the past. The imprinted snapshot of the movement is always a “present” within the symbolic “becoming” of the photograph.

In the time of the viewer the artistic work is an act of the past, referring though in a firm voice to the future. Moreover: the photographic “moment” in which the dancer moves, on see-rocks holding branches of trees or flowers, denotes a human moving “ historically” in a musical resonance with the nature.  It symbolizes the pagan human of the past representing natural forces-through an embodiment of those in a dance, or the ancient Greek man whose musical movement was an expression of thought; even more, the expression of the potentiality of the “man of the future” a man able of living in harmony with the natural and social environment. A man manifesting a human growth, through the transformation of the self into a fellow of a profoundly mystical connection to nature- lost nowadays.

In the pictures and paintings where the dance becomes the posture of a tree, the flight of the bird, or the fatal but heroic end of the Icarus’s flight, the decisive descent into the mysteries of nature and human existence is revealed and at the same time the most triumphal ascent to it: An affirmation of life.

The whole meaning of Marias’s enterprise, paintings and photographs is that: The awakenings of the humanity, the awakenings of human potentialities which are in accordance with nature and history that remained dormant for 2500 years and the elevation of the human to the historical heights of its mission on earth.

Panagiotis Tsimpris

Text elaboration in English Melanie Alexea

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