1993 ‘’Images and Transformations’’



“ Images and Transformations ”
(Christine Colmant Art gallery, Nov. 18 / Dec. 14. 1993)

Non-objectivity in art resulted in the exhaustion of forms.
However we are witnessing the rebirth of non-objective art
everywhere, without any relation to the idea of “warm” or “cold”
abstraction with which so many dilettantes were enraptured in the
post-war period. With this text of Danielle Gillemon we wish to
express our feelings for the work of Kostas lraklis Georgiou.

The new abstraction that concerns Kostas lraklis Georgiou departs
from the repertoire of its founders in order to find another

We cannot deny that he is concerned with an abstraction that has
been secretly nurtured in archaeology. lt is a new syntax that
henceforth comprises another chapter in history.

As for the forms, already dismembered by the wish to uncover the
“dual-figuration” of things and to inscribe it in a complex network
within its ambient space, Kostas lraklis Georgiou refuses to codify
their contours so as not to empty them of meaning.

ln his work we observe that he has mastered his set task: that is,
retaining the shadows of figures and of objects that saturate our
field of vision, transforming the configurations of these shadows by
giving them weight and unpolished density, so that these
compositions appear animated, even inhabited.

ln reality the compositions have become relationships of strength,
expressing vital energy through a very full form, always expanding,
which is the dim yet ever-present memory of the human being, of
objects, of places and of their intimate yet indivisible links which
formerly retained his attention.

Kostas lraklis Georgiou has managed to join two spaces and to
merge two distinct entities to induce new links of communication,
to broaden communication in painting by making of it a total
language which addresses the senses and the spirit equally well,
becoming here a sign and there an image.

Silvana Verdiani
Brusells 1993