It has been a long time since I have thought on the idea of writing a book on Art. The more time I spent thinking about it the more complex my thoughts became, so much so I was immediately gripped by the futility of it. Yet I persisted in weighing its importance to my life, how it has changed and given to it a vitality and sobriety I would never have known without it. Art has launched me on a fascinating journey across a vast sea whose horizons seem endless, within whose scope I feel is my Odyssey.
Through it I have wandered into the murky waters of despair self seeking and obsessed, as if what I was discovering was a Biblical revelation of man’s upward thrust into the light and into the truth. All this through an activity which has enforced itself upon me to see not only people as they are but the human being in the context of time.
I feel as Odysseus himself set on a course upon forbidden shores where reality is perceived by the very soul yearning, stumbling, reaching forward into an illusive world strange and unfamiliar, exotic in its beauty and horrifying in its tenacity.
There have been times when I have clung to Art conspicuously, using it as a shield against my fears and as excuse for my excesses. At other moments I have cursed it for its fickle nature, the demands it makes, and the weight it imposes on my life, on my loves and wants. It is at those moments I have been tempted to abandon it, preferably never to have known it. To be normal in the sense of not feeling fated to forego a somewhat undesirable task blind folded from the beginning. Yet it remains merciless in its grip on the artist. The spirit of Art can’t exist without him, this of course whether it is to follow an idea or search for the perfect form in a beautiful image. In this sense Art becomes a responsibility to the human mind and its evolution.
The Sphinx of the Oedipus Rex Tragedy is the theme of the large sculpture. It is a modern interpretation of the riddling Sphinx as a mechanical Godly device put on earth to the service of some mysterious purpose. This purpose is directly involved in Oedipus’s life’s fateful direction.
The Robotic element is what makes it so original and disturbing. It could be perfectly used in a Modern Greek tragedy (Epidaurus) interpreted to include it with a voice of course dubbed over.
The Minotaur represents an age old almost prehistoric human internal battle of conscience; man wrestling the animal out of himself. I have taken the artistic liberties of interpretation in revealing the new Minotaur of today, the mechanical Minotaur of our psyche. This Minotaur haunts us with its icy mystic mind. This is the Minotaur of tomorrow, the one which is coming but is already here. This is the side of us which threatens our humanness. And we must battle once more for our freedom.
Raised and Educated in Toronto, Canada but inspired by Greece.
● 1969-1973 Central Technical School Fine Art Department. ( Acquired the F. Dawson Kennedy Award for outstanding Achievement)
● 1973 Won Scholarship as visiting art student to Florence Art College.
● 1980-1983 Studied Philosophy and Literature in University of Toronto
● 1984-1985 Anatomy studies at the Ontario Chiropractic College Toronto
● 1987-1989 Studied and graduated at the Ontario College of Art
● Toronto (Acquired Fine Arts Diploma)
● 1980-1985 Teaching Life Drawing and History of Art at Central Technical School, Toronto
● 1980-1985 Teaching Air-brush Technique and Poster Design at Dan forth Technical School, Toronto
● 1990-2000 Greece-Opened my own Art School at Xolargos, Athens
● 1993-2000 Taught in my own private Art School teaching Clay Sculpture, Wire and Plaster Sculpture, Life Drawing, Watercolor, the Technique of Oil Painting and Lectures.
● 2002-2004 Teaching at A K T O School of Fashion and Design Koumoundourou Sq. Athens Greece
● 2004 Construction Artist for the Set Designs of Sam Shepherd’s Lie of the Mind at Theatre Embros, Athens Greece Director: Tasos Bandis, Set Design: Lily Kendaka Lighting:Guido Levi, Costumes: Bruno Fatalot, Carpentry:Xavier Devaux
● 2007 Full time Artistic position for construction of Sets for the National Theatre of Greece.
● 2009 Children’s Theatre: By John Xristopoulos Productions and Xari- Romas- Sevax the Mariner
● 2010 Children’s Theatre: By John Xristopoulos Productions and Xari- Romas- The Princess and the Frog Lectures
● 1982 “Man and Art” Trinity College, University of Toronto
● 1983 “Mythology” Blantyre Public School, Toronto
● 1984 “Mythology” Huron Public School, Toronto
● 1984 “mythology” St. Margaret Public School, Toronto
● 1996 “Art and Color” Deree College, Athens Greece