John Kolokotronis - The Destiny of Paschalis

The destiny of Paschalis

Aggelidis is to transform the signs of the ancient civilization, alterating and masquerading them to look differently from their previous appearance. This is the reason why he paints pictures of statues, which can not be used as measure of beauty of the natural prototype as required by the ancient world, but as a comparison measure of the psycho-analytical interpretation imposed by the relativity and by the moment to the members of the contemporary society. The artist reverses the tension that we have for the pictures of the statues, to the idea that we have for the statues, as a reflection of our ownselves. Otherwise he should practice in imitating the ancient symbols. On the contrary he transfers in them relative feelings and momentary impressions of the contemporary spectator, obliging him to recall personal feelings.
Are there any statues that could shed fears? Aggelidis replaces the pupil of the eye with an empty space, painted always black, and the spectator has therefore the impression that the portrait’s glare is sad, drowned into the deep thoughts, strict, inquisitive, ecstatic, cold, full of determination; the stone-faces get alive. Often we use an idea in order to understand the reality. The artist skilfully isolates it and makes it stand out the immobility of the ancient statues, that are imbued with continuity. Then he transfers to these portraits, human feelings and he unexpectedly creates a theatrical scene, where the confessional monologue is prevailing. Aggelidis compromises indirectly the duration of human feelings.

Dr. John Kolokotronis
Professor of the Art history at the Demokritos University