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Mosaic art is a very challenging one. The materials that I cut, by hands, to form the tesserae, are quite "cold", hard and very tough to handle. More over, they originate from a far away place in time and are destined to last for even much longer. It is indeed a very old art. And it asks for respect. Trying to make it contemporary, by giving it modern "rhythm", plasticity and movement, is a puzzle that needs to be carefully solved. The final result is multi faceted since the tesserae interact with light hence their special (non flat) placement creates diverse effects depending on light.

My approach on the enchanting Mosaic Cosmos is based on an artistic, visual and technical paradox: using void to make space. To me, this is a key to mosaic art. Respecting the interstice. Respecting the void between the tesserae. This is what keeps the work together, making the void one of the most valuable parts of the creation. Creating space from void. Recreating a new compact and durable image, a new wholesome amalgamate surface, by composing pieces of matter that have been fragmented before. "Hugging" the gaps with substance. Creating something deeply powerfull around total absence.

Turning point, Haiku of Basho, 2013

Turning point, Haiku of Basho, 2013

Giorgos Seferis 1970, «Exercises Book B΄» (First edition 1976, Ikaros pubblishing company)
Byzantine technique, 55 x 110. Weight : 2 kg.
Materials : Wood and carbon.
1963 – 2013, 50 years from the award of the Nobel Prize for Literature to Giorgos Seferis.

It is made by poor materials, as wood and carbon.

An art that in past was often created by though imperial commisions, today, can also use common materials as in 'arte povera', without loosing its dynamism, its energy, its psychological aspect.

Turning point : One material in two phases of its life: Logos (wooden tesserae) emerges through, a bleak burnt(charcoal tesserae) landscape.

The poem "Haiku of Basho" of Giorgos Seferis was written in 1970, an era of tyranny in Greece, with a strong need for freedom. As a tribute to the Japanese poet Basho, who first lifted the form Haiku in Poetry.

This mosaic-poem is made by poor materials, as wood and carbon.

An art that in past was often created by though imperial commisions, today, can also use common materials as in 'arte povera', without loosing its dynamism, its energy, its psychological aspect.

[Farce of Fate:
Beneath the helmet speaketh
a cricket.]


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