ABOVE: A timelapse video illustrates the private installation of Alex's painting, ODYSSEY, 2008-2010, 92' x 90", Acrylic on 80 wood panels
Over the millennia, Greece, as an idea, has operated as an inspiration, a reality check, a reference point and an anchor; a lens through which to view our world. It inhabits my mind and my heart, and in many ways, no matter the geographic distance, I’ve never left it. Greece is always on my emotional radar.
Equally, my work involves the examination of ancient myths, their relevance to traditional linear story telling, influence on contemporary mores and present-day discourse on contemporary mythology and its links to the past. Moreover, integrating classical rendering techniques with digital and other contemporary modalities I reflect on the inherent mélange of individual and collective memory; the friction of values past, present and future in our pursuit of self-determination and self-knowledge.
As fragmented memories shape into personal and collective histories, my works are the sum of their parts. Traditional narrative components woven with the quasi-contextual sound bites of modern communiqué are “pixilated” into individual panels of wood, paper and metal. Painted, printed or engraved, they are in and of themselves complete works of art - free-floating thoughts, symbols, and impressions. When assembled, they embody the fragmentation of time and memory in history and mythology. This approach is applied to my chronicling of local, national and world affairs, political/economic quagmires, perpetual conflicts and the behavioral patterns they generate.
Despite their apparent architectural structure, each painting maintains its capacity to adapt to new spaces and assume new configurations; a metaphor for a world made out of fragments that multiply, travel and connect, again and again, like molecules creating living and evermore complex organisms.
Classically trained in Europe and shaped by the cultural and historical gravitas fractured over time by war and foreign occupation, my heritage fuels a deeply rooted interest in ancient practices and their keystone impact on modern western culture, and how iconography can be subverted without a deeper understanding of its roots. In light of the recent economic shadow that has darkened my homeland, I hope my work conveys a sense of confidence and optimism for the future, consistent with the legacy of this earth; an intellectual enterprise that has been in business for thousands of years and will continue to contribute to the discussion of pertinent issues surrounding the visual arts and culture in the context of contemporary political trends. AK
Each of the images shown are transitional works configured from a single source:
ICARUS TRANSITIONING, 2014 Acrylic on 80 wood and metal panels