Oover the last years, thanks to my friend Manos Dimitrakopoulos, I have often found myself in Antiparos with my children, enjoying generous hospitality. A counter-gift to the care of Ms. Mary Hatzaki, the paintings I created for the exhibition at ‘Anti’ gallery, a small space she keeps alive at the entrance of the city’s oldenday castle.

Slowly walking along the street of the essential requirements for a frugal prosperity, I detour to the outskirts of current life that are still unassailed by the erratic ephemeral trends, I procrastinate looking at the surrounding area; I am absorbed, under the impression that I am being emptied though I am most probably being filled to the brim, the view taking its position within me and later returning to my mind –a secret thread– with the intimacy of a primordial homeland. So, I painted some of those images like sign-posts, to the extent that I could, marks of my gaze’s passage of essential stops across summer: dark figures of pines in clear sky, the bright ridge of a ripe over-flowing opuntia, sintered valleys gilded in the burning sun, blue cool waters, the grand multi-candles of the starry sky at night, the fullmoon road in the black sea, candles lit in the dark, the scent of jasmine on a whitewashed wall and an illuminated Panagia/Holy Mother for the grand mid-August celebration, the assumption of the mother.