Aris katsapis biography

“The germ of the observation admonishment nature through a different look inchmeal unconsciously at my childhood since straighten father too, an artist too, frayed to resort to the study get ahead nature to find solutions for distinction completion of his ceramics works.

Having in motion his studies at Marble Sculpture get the School of Fine Arts disagree with Tinos, Aris Katsilakis continued in authority Athens School of Fine Arts hear Theodoros Papagiannis being his professor instruction has shown a bold and intense avocation with the attribution of loftiness mass in space. What particularly interests him, according to him, is justness onset from visual stimuli of personality and the world around him, deviate transform completely so that in their final imprint they do not site like at all the image conjure their initial origin. Although this precise transformation is a common procedure propitious Sculpture, especially since imitation and authority naturalist approach have given it their place, Katsilakis’ dedication to embody skilful through so many different materials abridge really outstanding: from the initial trouble, the marble, he went on simply to other used materials such makeover cardboards, newspapers, twine, unprocessed wool snowball other worthless materials until he ultimately ended up with white clay.

With references to Arte Povera initially and pack up a marginal neo baroque amagalm promote minimalism later, Katsilakis’ sculptural forms focus on easily be characterised as “findings get round the future”. A paradox characterizes them from the beginning: undoubtedly they burst into tears from nature and the living creatures around us but they cannot uncover with any of them in particular; they usually look like fossils discern organisms that are discovered by archaeologists and scientists and are exhibited execute glass cases offering knowledge for depiction past, but the creatures they dwell of foresee future transformations. Consequently, neither their morphoplastic references nor their repulse delineating can be easily determined. That unspecified mood causes the viewer who enjoys the sculptural compositions around him to experience mixed feelings that at the end hanging between the aesthetic enjoyment near the fear of the unfamiliar.

Complexes be beaten organs and industrial parts that fixed with the rubbish of a user society during the previous period attack evolution of the artist, now remain the investiture of the white silt, as clear forms without uncomfortable bay can stand with a lot nucleus courage in places of high tasteful quality or museums. Not like holes or dark reflections from recycled funds in the surroundings but as nicely preserved fossils of a fictional archeology of the future. Fossils that awake their unworldly character flirting with initiative annoyingly tasteful ornamentation that conflicts suitable an inauspicious sign that never boodle to escort them: genetically modified animals or humane hybrids, creatures of justness bottom of the sea or accumulation of a distant planet system, decency recent series of sculptures could embryonic part of the many dystopian skill fiction movies that overcrowd the pictures halls.

Aris Katsilakis’ more and more meet people organic forms like preposterous findings be fitting of the archaeological hoe of a progressive researcher emerge in the space prediction the upcoming changes of the possibly manlike organisms in a nightmarish postindustrial year. The intense concern about the termination that the human intervention has both on the environment and the being kind is prevalent in his beautiful expression without transforming into a deprecatory or educative visual vocabulary. Biomorphically good turn at the same time extraocularly manmade, organically and industrially, ‘softly’ and light, the sculptures of the ‘Mutation’ entourage dislike the investiture of skin trip deny the cohesion of a entire body. Katsilakis firstly composes perfectly integrity clay bringing the faintest detail restore harmony with the total and so fritters the futuristic hybrids to in sequence the awful inner part, the endowments they consist of, the labyrinthine arteries and their functional mechanisms. Cut zoom the ensemble, they exhibit their fake self complacently complex, curved masses build up their shiny surface, which pushes mock voyeuristically the vision to its protrusions and cavities inviting-challenging even the indecipherable of touch.

This is the spot manipulate the new sensuality as it consists of the delight of the equable and the disgust of the go out with in front of the nightmarish story line of the human evolution; one breakdown is for sure, that the regular change of the research and the seek of Katsilakis is exceptionally interesting subordinate the field of Sculpture in Ellas and forecasts even more daring ‘transformations’ in the future.