"From innocence to ... seduction " is the title of the exhibition of Nikos Mourikis and raises the thoughts, questions and reflections. Because the artist choose this title, what is the story you want to tell us and how do we find out these concepts in his works? And these questions that we try to give an answer through reading the works, initially as a whole, and then examining some of them thoroughly.
Even with a very fast and superficial consideration of the works, the viewer of the show can observe the female figures, as of 28 ,22 works depict female figures. Other solitary, mysterious and enigmatic and more inaccessible. Many are naked on beds with pleated fabrics, some with violins or cellos, or beside the headless male bodies, fragmented and mowed. The whole scene indicates an erotic search  a need of Eros.
The few distinct male figures include self-portraits of the artist, always in a frame, with its artistic distant paraphernalia, without participating in the events. "The Picture in another picture, a viewer in its history, defines its space and is in constant communication with artist's. Conversing with Bouguereau, when you run the study, detail of the work the bather with Velasquez in the desert with Gizis in the work the two mothers ... In addition to this internal communication of artist's over time (defined as introspective), in Mondrian's vote also multilevel development of various problems. In many works, such as dream, George, the hidden life, the main theme is limited by a frame, while other issues are held in parallel. The frame says directly to the viewer that is an illusion and not a real fact, are the creations of the artist that is predominant in the color game.
 The other distinct masculine form is that of the philosopher, who is kept in a classic stance, holding the symbols of knowledge. Art and philosophy, they meet? The answer was given by Hegel, the great German philosopher of the early 19th century, which characterizes as an art piece that meets the philosophy. We understand then why in shows the author gave space to the philosopher, artist, while the works are fool of symbol of art and knowledge , like books, violins, brushes, declaring that way the timeless human need to evolve spiritually, creating and discovering the truth of his universe.
Another series of his paintings, like innocence, Lullaby ... Achilles dormant, the kid with the beads back to innocence, as it is a concept that characterizes the childhood, a concept that indicates a lack of guilt, which we see in the boy's Innocence, when behind the back describes the Crucifixion, quite unknown to the young man in the foreground.
But where is the seduction, lies perhaps in the erotic fantasy of teenage dreams, in men's bodies, or in the tight lips and eyes lowered for women? Is there maybe an executioner and a victim, or these roles are alternated in the game of relationships, thoughts hidden in mind and unconscious behavior? Seduction in the works, and not just limited to erotic infatuation, but general moral degradation of the individual, as a result of a poor choice in a determinant moment of his life. Truncated forms, faceless puppets reflect the absence of love, the same absence is outlined in the faces of women alone and nothing is bridged by the love of street of Caryatid.
         Despite the perfect Anatomy of the body, the great com positional space management, the dialectic of light and dark fabric folds,  delivered a feeling of fear because we are confronted with our contracts, reflecting what  We are trying to hide, our soul.

Dina Bodiotis



From innocence to  Seduction
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