Paintings, 24/02/1988 – 12 /03/1988
Sorry, this entry is only available in GR.
The work of the young
In his first individual show at the “Medusa” Giorgos Rorris presents a touching body of work. Armed with sincerity, knowledge, sensitivity and, above all, love for painting, he follows the path which produces the great moments of art.
Free of limitations, modernism or anything else that obstructs true creativity, Rorris builds his personal history which we feel is going to be associated with the history of the art produced in our country these years.
In Rorris we admired an exquisite work of the kind one finds in small places like our country, by artists who neither haunt the galleries nor leaf through magazines to find out what is ‘fashionable’; artists who are not anxious to impress and make their name overnight, being blessed not only with talent but also with patience and self-assurance.
The painting of Rorris defies classification. It shows influences from visits to museums, especially those with works by Dutch masters, as well as from Giacometti or our own Chronis Botsoglou. But these affinities are not given here as aids for interpreting the works. Their ID soberly states: “This is what I can, this is what I do”. And it is already too much. The painting of Rorris shows the joy that art can give us when it is clear, true and meaningful.
A glance at the exhibitions
Works which stand the trial of truth
by DORA ILIOPOULOU – ROGAN
The work of Giorgos Rorris at the “Medusa” gallery shows an astounding power and presence. Although still young —just 25— he has already produced a strikingly mature body of visual work. His compositions present viewers with something much more meaningful than any message; they generate an overall atmosphere which stands above the common boundaries of time and space. Adding to this atmosphere, aside from the colour and the painter’s inspired handling, are certain solutions in terms of composition, the angle from which each figure is seen, and especially the ‘tension’ as a result of this angle. Whether there is one or two dominant figures, a revealing dialogue always unfolds in his work to lead viewers outside the beaten path. His references to a long painterly tradition are informed by an inexhaustible imagination and a strikingly mature personality. In short, these are works every single one of which has something important to tell and, above all, a genuine, substantial message to convey.