Oil in canvas
Yiannis Adamakis | 02 to 21 August 2022
Vernissage: Tuesday 2 August 2022 at 19:00
Opening hours: Daily from 19:00 to 23:00
Info: +30 697 440 0035 / +30 698 077 7146
Yannis Adamakis, continuing his collaboration with “anti” Art Gallery, comes in August to the Kastro of Antiparos to present the last series of his work entitled “DELIBERATELY INNOCENT”.
He says: “Through this particular series of work, I tried to capture the image of a game with a child’s eye, in quotation marks. A game with an objective and subjective substance.
We are accustomed to thinking that children represent innocence when they are capable of but also willing to engage in more complex and not necessarily naïve thoughts. So I tried to explore this ‘iconoclastic’ view from an artist’s point of view. Behind a little car, a little boat, and a little soldier, there are parallel events and parallel readings. Hidden are repulsions, unresolved cases, and unresolved postponements. Battles were lost before they began.
In the end, I felt innocent and guilty of things I lived through and exploited to paint.”
For the opening of the exhibition of Yannis Adamakis “DELIBERATELY INNOCENT”, a concert of Michalis & Pantelis Kalogerakis, with “the Rebotica & the others” will take place on Tuesday 2 August 2022 at 22:00.
In the Catalogue accompanying the Exhibition ” DELIBERATELY INNOCENT “, the painter George Stathopoulos in his text for his colleague and friend Yannis Adamakis, writes:
First I admired the painting of Yiannis Adamakis through his exhibited and published works and then I got to know the man himself—the prince of Vrilissia, as we call him with Thanasis Michailidis, the lord of Vouliagmeni. Together we have lived some great moments of food and wine tasting; beautiful moments that bond us and still continue, thankfully, alleviating the merciless flow of time.
The painting of Adamakis gets his viewers travelling in never-sleeping seas and mystery ports, takes them to piazzas that seem to float on navigable streets, shows them around workplaces to remind them of their endurance, gets them on and off buses until every day feels like a school trip.
He is surely one of the most important painters we have today. His paintings are triggered mostly by his friends, spirits and the boats with the expectations they carry and the lives they bring back. This is why we could say that he communicates with the public and his friends in such a way that makes them feel that his painting belongs to them.
The painting of Adamakis moves and inspires us. He does not seek to flatter with the stereotypical fads of European painters, who have always influenced and often sidetracked their Greek counterparts.
My friend Yiannis, cheers!
A rash glance into memory.
Inexperience, naïveté, gullibility and ultimately guilt.
We organize our image in a charged, sly, biased way.
We build a catalogue raisonné.
We repudiate our darker traits.
We pick neutral subjects. We try to fool others. To have fun.
We seek ‘happy’ encounters.
We con passers-by. We evade their gaze.
We jump an amber light.
I travel in humble, motionless seas. I collect toy soldiers. I collect toys. I seek silence.
What I feel is not the smell of a southern wind. It’s the stuffy feeling of long-closed rooms; of houses with their front doors locked; of dining rooms whose carpets have lain there for years.
How can I handle all those ‘maybes’? The abandoned projects? The ‘we’ll see’ evasions?
How can I handle the Erinyes?
How can I handle the nights?
Awkward motions in bed. I don’t lie down, I sink…
The weight of the moment is hard to bear. The joints freeze up.
I return to my childhood gaze. I laugh. I get strange thoughts. Dangerous readings.
As a child, I am not afraid to look back.
I lay out with the brush. I coat it with glazing. I hide. Again and again.
Glazes, glazes, glazes. A desperate action.
Colours. One after the other. And again. And the anxiety again.
I float, I swim, I am drowning. I open Pandora’s box. I follow the destiny of the moments. I feel shame.
I stop. I narrate. I record. I wonder.
I put on my best clothes.
Yiannis Adamakis, 2022.
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