The structure is the content
“The image always has the last word”
Jacques Derrida
The observations of references to more conventional forms of expression are not typical, if not unusual, nowadays. Yet, in this exhibition, we can relate, first visually, then psychologically, with a series of paintings, executed on wood panels, on which the old technique of pyrography has been employed. Hence, this is the first indication that another form of expression is born, which is rendered with acrylic paints.
If we were to argue about the compositional merits of these paintings, one would dare to say that there are conflicting elements. Thus, we can easily develop the impression of a feeble inviting component. This is said in line with the fact that in almost all themes we can discern the succession of plains, that is to say, the varying degrees of the pictorial depth. This analysis is based not only on the different gradation of the colored schemes, but on the charmingly orchestrated techniques of the continuous apses or the indifferent and casual openings that constitute a pretext, under which we are permitted to wander inside these new types of interiors.
On the other hand, as soon as we feel established within this domain, another, opposing feeling slowly emerges that borders the notion of curiosity, ambivalence and stiffness. These psychological implications are not airy or subjective; quite the opposite. Presumably, it is the best possible way Jordan Kalimerakis could utilize, in order to convey his very own, deep, personal manifestations.
Yet, all these features are executed, not only in a crisp, professional way, but, at times, in a rather playful one. As a matter of fact, the exhibition’s title: “Enigmatic Sceneries”1 obviously suggests a hermetic set up that resembles a staged performance, sans mots, with an audio background2. Therefore, allowing all viewers to potentially re-enact the same process, as if it is a question of verification.
At any rate, the “importance of being earnest”3 is one thing, but the significance of being innovative is another. Whether or not these two virtues are combined, it will be judged by the eye of the beholder.
Konstantinos Basios
Member of A.I.C.A.
1. This is definitely an echo of Giorgio De Chirico’s mysterious piazzas.
2. As it is confessed by the artist himself in the article “Love is a burning thing”, (based on Jordan Kalimerakis’ interview) by Christiana Athanasiadou, published in the seasonal magazine YOKE The Brand, February 2021, pp. 46-47, in which he clearly admitted the influence of “The National”, an American rock band of Cincinnati, Ohio natives, formed in Brooklyn, New York City in 1999. The band’s lyrics have been described as “dark, melancholy and difficult to interpret”, while the band musicians have stated that: “the melody and the rhythm come first and then words and imagery will start to stick to a melody’, a process very similar to how Kalimerakis reacts, while listening to their music. https://en.wikipedia.org/wiki/The_National_(band)
3. This expression is based on the homonymous theatrical play by Oscar Wilde.
