Yiannis Christakos: This Is Not The World I Dreamt Of 鈥�
Christakos鈥� work has never been so topical as it is now amongst this time of change, both Greece and the UK have found themselves in turbulent waters, at logger heads with the European Union while the ordinary citizens watch as the 鈥榖ig boys鈥� re-establish themselves within their globalized order.
Whilst sparking political debates he reacts with personal pain, his new paintings explore the territory of Personal-mapping and investigate the viability of the line as a medium, in relation to his practice. His work is informed by a wide variety of sources ranging from architectural drawings, city maps, and satellite pictures, computer graphics and stitching. Form and line are embraced with respect, reminding us of landscape, maps and routes, and explored through an inventive use of laceworks, cotton threads and strings.
Although these 鈥榤appings鈥� may be reminiscent of maps we have known they remain imaginary. They are pictorial collages, fragments of aerial land observations, layered under organic grids structured by a chaotic spinning line; these nets seem to emerge from the cells of his emotional and visual memories. This body of work employs a complex of imaginary symbols, stitching cartographical marks and fragments generating a macro and micro-topographies in drawing. The relationship to memory, emotion and personal lived experiences remains strong even if we consider these drawings solely as maps of imaginary lands or political ideologies.
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Christakos鈥� work has never been so topical as it is now amongst this time of change, both Greece and the UK have found themselves in turbulent waters, at logger heads with the European Union while the ordinary citizens watch as the 鈥榖ig boys鈥� re-establish themselves within their globalized order.
Whilst sparking political debates he reacts with personal pain, his new paintings explore the territory of Personal-mapping and investigate the viability of the line as a medium, in relation to his practice. His work is informed by a wide variety of sources ranging from architectural drawings, city maps, and satellite pictures, computer graphics and stitching. Form and line are embraced with respect, reminding us of landscape, maps and routes, and explored through an inventive use of laceworks, cotton threads and strings.
Although these 鈥榤appings鈥� may be reminiscent of maps we have known they remain imaginary. They are pictorial collages, fragments of aerial land observations, layered under organic grids structured by a chaotic spinning line; these nets seem to emerge from the cells of his emotional and visual memories. This body of work employs a complex of imaginary symbols, stitching cartographical marks and fragments generating a macro and micro-topographies in drawing. The relationship to memory, emotion and personal lived experiences remains strong even if we consider these drawings solely as maps of imaginary lands or political ideologies.
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