Journeys

If we were to judge by the human figure, dominant in the current work of Daphne Angelidou, we could say that the artist is transitioning from a ‘relative’ abstraction, which was dominant in her previous work, to a ‘relative’ naturalism. Subsequently, man now ceases to be an indication of man and becomes more of a literal presence. From an abstract, transparent symbol he is converted into a naturalistic solid. He is, therefore, not limited to a visual stimulus, but takes on a tactile dimension as well. Man gains flesh and bone and is not merely an indication of human presence that, in its depth, conceals absence.

At the same time the umbrella, always dominant in the work of Angelidou, no longer covers the whole of the face as was the case so far, and this is plain to see in the small mosaics of the current exhibition. It now ceases to replace the face, like a mask, and plays more of a protective role, leaving space for the presence of another. Here, we often see people embracing underneath the same umbrella. I would even go as far as saying that its role is not simply protective, but helps to reveal the face that it covered until now, which is also supported by the fact that we now come across it lying discarded on the ground.

Man, therefore, can look around him and find his bearings: various human figures, in several combinations, move in all directions. That fact is also the difference between this and the artist’s previous work, the obvious presence of the other. And not as an imaginary figure, either – abstract and stylised – but more real: fleshed out and three-dimensional.

Like always in the work of Angelidou, there is an underlying sense of loneliness, especially in the isolated figures, as well as a sense of anticipation. But with a fundamental difference. Up until now, the human figure (see the small mosaics with a white background), by appearing more abstract, stylised, and with the umbrella covering its face, presents man in a state of waiting for himself. Now the human figure, three-dimensional, made of flesh and with its face uncovered, evokes the sense of waiting for the other, to the extent that the self has been fulfilled.

Angelidou, with her work, is always implying the multiform nature of human journeys, external and internal, where, however, sometimes blatantly and sometimes latently, there lurks the necessity of meeting with the other, who now makes his presence known.

For yet another time, the artist reflects upon the human condition in our days.

Andreas Ioannidis
Art Historian
Associate Professor at the Athens School of Fine Arts