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| Nikos Kessanlis Being influenced by the methods of expression and the spirit of neo-realism, which is defined by the misappropriation of reality, Nikos feels the need to abolish the painting elements of the synthesis to the benefit of “ready-made” works. Constructions made using crumpled paper, metal mesh and the prints on cloth previously attached to plaster, are now detached from the two-dimensional wall and released into space (“Gestures” “Meshwork”); they are laid down or suspended, thus claiming their autonomy as “ready-made” sculptures, unleashed from their painting origins. Aspiring at giving priority to the objectification of a gesture (the crumpling of the gesture) instead of to the object per se, he seeks pliable, disparate poor materials, abandoned expressions of anguish that, like memory vehicles, transport the traces of older works, unworthy materials that allow ingenious interventions (metal mesh, thread, wood, gauze, electricity cables, damaged metal objects). […]. Transparent ethereal mesh, plastered spontaneous gestures, soiled cloth, wires, detached posters and plastered sacs, like "toys" of movements refusing any painting intervention, intensify the objectification of the misappropriating gesture, which traps the wounded, continuously aroused, memory. Colour turns white, the stroke of the brush is neutralised and disappears. […] Giorgos Tzirtzilakis (excerpt from the catalogue of Nikos Kessanlis’ retrospective exhibition at the Macedonian Museum of Contemporary Art, 16/10 – 30/11/1997)  Download CV |  Pressed cotton |
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