Rainbow

 

Early morning, seen from our balcony.

Costas Tsoclis, Painting: Limits and Transgressions, Part 2

Costas Tsoclis, Painting: Limits and Transgressions, Part 2

at the Theocharakis Foundation, Athens.

Since 1985, Tsoclis has been using video images to include the element of time in his work. The painting image becomes alive with video projections on canvas, giving the sense of paintings in motion.

A few years ago we saw an exhibition titled 'The Moving Image' where his paintings superimposed with video projections were on display. It was a memorable experience. A few of these were part of this, current exhibition.

Artemis - Kali, 1997, (colour video projection on two paintings with acrylics)

As we looked at the painting, Artemis' resting arm moved very slowly and her eyelids opened and closed

Unfortunately, I did not record the title of this painting. What moved here were the arms of the people featured

Resurrections, 2003, (video projection on canvas)

Resurrections, 2003, (hand coloured photograph)

Red Cross, 2013, (acrylic and wood)

The Resting Wayfarer, 1988, (acrylic on canvas)

The Resting Wayfarer, 1988, (acrylic on canvas)

The Resting Wayfarer, 1988, (acrylic on canvas)

Grey Clouds, 1988, (acrylic on wood and lead)

Genesis, 1992, (soil and glue on canvas)

Genesis, 1992, (soil and glue on canvas)

One Bucket full of Day and Another Full of Night, 1990, (acrylic on wood, bucket, rope, plexiglas)

Two Chairs, 1967, (wooden construction, fabric and plastic floor)

Tree, 2001, (acrylic on canvas, wood, stone and string)

White Tree Stump, 1991, (acrylic on canvas, wood, stone and rope)

Red Trees, 2008, (acrylic on canvas and wood)

Costas Tsoclis - Painting: Limits and Transgressions. Part 1

Costas Tsoclis, Painting: Limits and Transgressions, Part I

at the Theocharakis Foundation, Athens.

Tsoclis is one of the most well-known artists in Greece. Expressionistic influences characterise his early work, but his experimentation with elements like sand, cement, marble dust and coal, added a unique aesthetic to his creations.

In the middle 1960s  he gradually added a third dimension to his canvases although his compositions were still characterised by a painterly approach. The element of trompe-l'oeil runs through his entire oeuvre, not in the traditional sense of the transferring of three dimensions to a flat surface, but by the dissolution of the boundaries between the painted and the real space. 

Alexandros Iolas, Ilias Petropoulos, Eleni Tsocli, 1995, (wood, sketch and tinplate)

looking closer

looking closer

looking closer

Kiki, 1955, (oil on canvas)

Image Quotidienne (Everyday Image), 1964, (acrylic on fabric)

Image Quotidienne (Everyday Image), 1964, (acrylic on fabric)

Image Quotidienne (Everyday Image), 1964, (acrylic on fabric)

Ruins of an Ancient City, 1960, (cement, coal, acrylic on burlap)

looking closer

Le Vide dans le Vide ou la Desillusion (The Emptiness Inside the Emptiness of the Disillusionment, 1962, (acrylic on fabric)

Scarcrow, 1960, (cement, coal and acrylic on burlap)

Polytimi, 1956, (oil on canvas)

The Celestial Forms series

Celestial Forms I, 2020, (acrylic on canvas)

Celestial Forms II, 2020, (acrylic on canvas)

Celestial Forms III, 2020, (acrylic on canvas)

Ray, 1990, (acrylic on canvas and aluminium spear)

Seascape, 2020, (acrylic canvas and stones)

Portrait 11, 1957, (oil on canvas)

Untitled, 1990, (Chinese ink on wood and steel)

Mikado, 1975, (wood and pencil sketch on paper, in plexiglas)

Foliage, 1979, (acrylic on canvas)