Stergios Stamos – Nakis Tastsioglou @ Apothiki Art Center
The Medusa Art Gallery and the Apothiki Art Center are cooperating for the second year in a row. Following last year’s successful exhibition of Maria Vlanti & Costas Lefkochir, on Saturday, July 15, 2006 Maria Demetriades (Medusa Art Gallery) and Dirk Drijbooms (Apothiki Art Center) are opening the show of works by Nakis Tastsioglou (sculpture) & Stergios Stamou (painting) at the Apothiki Art Center in Parikia, Paros.
“The bold lines and the strikingly formalistic aspect make the sculptures of Nakis Tastsioglou highly spectacular. The austere, transparent expanse of Plexiglas spreads with geometrical grace around metallic trunks/bases to generate impressive mental associations with the aid of light (artificial or natural) as it is reflected on the construction-sculpture.
At once robust and fragile, tangible and intangible, existent and nonexistent, visible and invisible, these works are playing with the human senses, with visions and dreams, with illusions, with everyday life and with the reality of the constantly changing course of life.”
Nakis Tastsioglou was born in Athens in 1955. He studied at the School of Fine Arts of Florence under C. Sevena. He graduated in 1979.
Solo exhibitions:
1987: Medusa Art Gallery, Athens
1989: Artista Gallery, Rome, Italy
1990: T. K. G. Gallery, Trieste, Italy
1991: Medusa Art Gallery, Athens
1994: Medusa + 1 Art Gallery, Athens
1996: Medusa Art Gallery, Athens
1999: Medusa Art Gallery, Athens
2004: Medusa Art Gallery, Athens
He has participated in 33 group exhibitions in Greece and abroad.
Main Group exhibitions:
1982 Maison de la Grece, Paris, France
1985 International Group Exhibition “Athens Cultural of Europe”, Eleftheria Park, Athens
1995 XLVI Biennale di Venezia, Venice, Italy
1995 “Elytron” Museum of Contemporary Art, Thessaloniki
2001 Sharjah Biennale United Arab Emirates, 2th Sculpture prize
2001 Osaka Triennale, Japan
2004 Athens by Art, Athens
“A text of emotions is illustrated in the paintings of Stergios Stamos, which he refuses to depict in a representational way and so they continue to carry traces of something hidden, secret and lead the viewer towards a ritualistic way of approaching them.
The presence of writing generates a pronounced emotional charge, so that one is obliged to ‘read’ the text through the image. The text is treated as a form incorporated into a broader painterly composition, and thus loses the potential to narrate by being read.”
