Review of Theodor Markellos exhibition in Florence
Press Clipping , Firenze
Even painters tread on meadows
A few days ago, an individual exhibition by Greek painter Theodor Markellos was inaugurated in the spaces of the Palazzo Vecchio gallery in Florence: we are faced with a series of works, connected with very well-known representational shapes, which are proposed, let's say, for what they are and for what, without great demands, they can "suggest" at first glance. There is in these pages, therefore, the free expression of a fantasy that aims to make calculations, correctly and only, with this Markellos never feels like failing: and these are proposals and passions that have little or nothing to do with an open and real vision of things and the world and that, as a result, remain almost always suffocated in the middle of a "family history" supported by iconographic elements (marine, figures and landscapes, for example) that are less reactive. And Markellos "saw" and narrated all this with the great list of a restorer: from here the undeniable spontaneity of his work and the evident coherence of his narrative: a narrative that, between disbelief of joy and sudden abandonments, seems to search for the green meadow of our ancient loves. The place, locked in a case, is now sacred and impassable: but painters, as we know, sometimes pretend they don't know how to read and, instead, continue to tread even on those meadows that, on the contrary, they should have abandoned, long ago, for more than one reason. And for good understanding...
For a
new
childhood
Cozzado Mqzzsom
A few days ago, an individual exhibition by Greek painter Theodor Markellos was inaugurated in the spaces of the Palazzo Vecchio gallery in Florence: we are faced with a series of works, connected with very well-known representational shapes, which are proposed, let's say, for what they are and for what, without great demands, they can "suggest" at first glance. There is in these pages, therefore, the free expression of a fantasy that aims to make calculations, correctly and only, with this Markellos never feels like failing: and these are proposals and passions that have little or nothing to do with an open and real vision of things and the world and that, as a result, remain almost always suffocated in the middle of a "family history" supported by iconographic elements (marine, figures and landscapes, for example) that are less reactive. And Markellos "saw" and narrated all this with the great list of a restorer: from here the undeniable spontaneity of his work and the evident coherence of his narrative: a narrative that, between disbelief of joy and sudden abandonments, seems to search for the green meadow of our ancient loves. The place, locked in a case, is now sacred and impassable: but painters, as we know, sometimes pretend they don't know how to read and, instead, continue to tread even on those meadows that, on the contrary, they should have abandoned, long ago, for more than one reason. And for good understanding...
For a
new
childhood
Cozzado Mqzzsom
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