TIME, TRACE, MATTER
George Skylogiannis
15/3 – 14/4/2012
The painting of George Skylogiannis, has always been a project of a poetic visual narrative and linguistics, a variety of morphological expressions of reflection and emotions, through artistic practice. The material substance and structural composition of his sculptural works, involving the trace, the memory, the decay, the decay, shape his poetic visual phraseology, defining the poetic of his image.
The convening of the visual with its poetic discourse is inherent as a structural semantic and technical component in the works of the artist, so as to expand its interactiveness, the conditions of reception and mutual renegotiation of its influence and penetrating scope and to accelerate coincidences, accelerations, coincidences, permutations, finally connecting the intralingual visual discourse, through relations of origin, with the occasion of its utterance.
Through its linguistic-poetic essence, the work approaches the viewer and the textual poetic discourse mediates by helping to receive the extra-textual discourse. Reducing the recipient-speaker distance, each poet constructs his own verbal image, in the polyphonic conceptual system, with an interactive and dialectical relationship, highlighting the various levels of interaction that may overlap.
As the object of utterance of this Speech, the involvement of the representation with the verbal code and the unpredictable re-creation that the visual act imposes on the accumulation of knowledge, with actions, reconstructions, transfers, transfers, recognitions, identifications, pauses and silences of the poetic Speech. Through their mediation and activating empiricisms, they deepen by offering beginnings for meaningful interpretations of signifiers and signifieds, articulation effects between point and referent, which not only do not weaken the image but also strengthen it.
In the continuation of his work, the formal reasoning is inscribed in his artistic discourse, which continues to be ontological until the evolution of his research. This time it returns to the form, with a reverse shift in the way of conception, again from the abstract to the documentary, but in a completely different way of management, formulation, reformulation, based on cognitive findings on issues of texture, volume, form, matter and Speech.
His unmanageable sculptural forms and obsessions, as painting phrases, with a directed gesture, a palpable writing with heterogeneous materials and a process with assemblies, assemblies, reliefs, abrasions, erasures, finally condense the imprint of his memory and the poetic symbolic power of his artistic speech.