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Kazantzaki Leda: Crushed beings

Crushed beings   

Optics By Leda Kazantzakis 


Normality crushes us. It creates the mirror of a symbolic order in which the Ego seeks to balance between its desires and fears and the dictates imposed by the social conventions of Looks. The mirror that today's industry of the ideal product of plastic surgery and genetics is trying to establish.   Amidst this contradiction is the painter Vasilis Soulis in his latest solo exhibition at the Skoufa Gallery in Kolonaki, with a deep knowledge of the drawing. 

He structures his painting surface with strictly structured sloping, vertical and horizontal, flat color fields. Sometimes they frame the centerpieces to create the illusion of depth. And sometimes, more often, they are projected as coinage, fleeting, cube-fueled and futuristic depictions of different aspects of the environment that are partially covered, pushing the figures to the forefront and integrating time into space. He structures his forms, adults and children, but also wild animals in embarrassing, thoughtful, aggressive attitudes, agitated movements and expressionistically rendered gestures and extreme expressions of sadness, pain, fear or anger. He uses as his primary tool his paint and sometimes charcoal to craft his works with thick and transparent, small neurotic, gestural but also perfectly controlled brushstrokes, sharp strokes and cloudy formations, where he cracks, cracks, cracks, its anxious urban "street runners" as in a theater scene. He thus drives his viewer into an explosive language, based on the syntax of modernist movements that attempts to break through while composing his personal idiom. He exemplifies under the indicative and contrary to the established etymology of the upper divine being the title "The Falling Man," through the contrast of the normally defined and the indefinable and the abstract that ultimately defines us, the fragile and the random of our existence.