The Artist with the Dickdogs Maquettes.
The dickdog of Cabaret Moulin Rouge / Το Πουτσόσκυλο του Cabaret Moulin Rouge
The heavenly-made flyingdickdog at Patision avenue in the daylight / To παραδείσιο πτηνοπουτσοσκυλο της οδού Πατησίων μέρα μεσημέρι.
A supervisor dick-tiger-dog / Εποπτικό πουτσοτιγρόσκυλο
The dickdog of Sergei Rachmaninoff / Το πουτσόσκυλο του Σεργκέι Ραχμάνινωφ
A Crocodile-dog or a crocodile is green with envy of not being a dickdog / Κροκοδειλόσκυλο ή κροκόδειλος που ζήλεψε να μοιάσει σε πουτσόσκυλο
The dickdog king, Aphrodisiac the Great / Βασιλιάς πουτσόσκυλο ,Αφροδίσιος ο Μέγας
A kamikaze dog-horny-monkey / Σκυλοκαυλοπήθικας καμικάζι
The dog of the Nice-looking guy or the Dog who killed the snake which is supposed to have be killed by Alexander the Great / To σκύλι που Μορφωνιού ή το Σκυλί που σκότωσε το φίδι που υποτίθεται ότι σκότωσε ο Μεγαλέξανδρος
The lame leopard-dog of Alexandra avenue / To κουλό λεοπαρδόσκυλο της Λεωφόρου Αλεξάνδρας
With strong references (simultaneously) to south american procolombian iconology, to Karagiozis’ figures and to pop culture as well, these odd creatures, these horny little monsters without any sexual or origin identity which haunted the heroes of the series “Phantasmagoria of defeat”, they are yet isolated, magnified and imposed through their approximately expressionist shape, which their shade also emphatically repeats on the painting frame.
This time the art of painting goes beyond all limits of canvas and becomes the space we are surrounded by. The separating line between painting and sculpture is expanded, the shade assumes a key role and therefore these bizarrely made creatures become features of the surrounding area, placing the spectator into a shade theatre of rare paradoxology, into a confined live mythological element, within the viewer is expected to reconsider the aspects of the milieu.
This time the art of painting goes beyond all limits of canvas and becomes the space we are surrounded by. The separating line between painting and sculpture is expanded, the shade assumes a key role and therefore these bizarrely made creatures become features of the surrounding area, placing the spectator into a shade theatre of rare paradoxology, into a confined live mythological element, within the viewer is expected to reconsider the aspects of the milieu.
PRESS: ATHENS VOICE
