REFLECTIONS ON THE MIND…
Christos Kexagioglou is undoubtedly a philosopher of life as well as of dialectical history who manages through the ritual of painting to retain a clearly personal style of expression. He comes across as romantic, with faith in his personal impressions towards the world and art and through his images he weaves a tale of the universe and of the world as a whole.
Christos Kexagioglou does not simply depict nature. He paints feelings, atmosphere, but also the recollections that emanate from it. He paints the coolness of dawn, the chill and dampness of night. He paints the weather
conditions rather than the geographical ones. His images are pieced together, dreamy, transparent, incorporeal and as if suspended in thin air, and combining lyricism with a fresh perception of color. He succeeds in crossing
over from naturalistic imitation and from subjective impressions to objective creativity with incredible expertise.
He creates secret places and architectural constructions with successive floors, silent facades, windows and skylights in which the unknown resides. Places whose sheer volumes distance themselves from what is visible to the eye. He composes recollections of the impressions he takes in and stages the inconceivable, bestowing, in most cases, an almost cinematic feel to the scenario of his works of art. A mysterious power of poetic reminiscences, a metaphysical aesthetic encountered in a large part of the western-European art of the ‘30’s emanates from his art. His portraits also play a determinative role in his art and he compels us with his clearly personal, expressive language. Images inaccessible and as if belonging to another world which transform into grotesque masks portraying the existential concerns of the artist in the face of loneliness and death. And thus, he approaches an inner reality hidden beneath the surface of his forms.
He redefines laws, as Italian painters have done, because he believes that a work of art symbolizes the timeless expression of harmony in nature, and for this, cannot be left to chance. He elucidates the scientific knowledge considered necessary to artists. Italian tranquillity and harmony are evident in the unusual notional – imaginary places which appear to be fixed traps, with nets trapping cone-shaped houses. We encounter the same harmony in his pyramid-shaped mountains, as well as his trees which have taken shape on the lathe. The artist feels the need to control and somehow tame all of this turmoil in nature. He describes a mathematical theory of form which he has conceived as a repertoire of powerful geometric forms, in order to conclude on the comparative study of symmetry and morphological types which characterize natural forms. He recapitulates the evolution of the theories regarding proportions, harmony, and geometric rules which serve the composition of architectural designs and proclaims his faith in an apocryphal, inner power – that of numbers, of harmonious formations and of mathematics – in his works of art.
In Christos Kexagioglou’s works, civility and austerity emit a sense of clarity, not an intellectual and austere one, but, on the contrary, one of clarity which stems from harnessing talent, from sensitivity, and from the sense of art that are the artist’s distinguishing traits. He respects expressive values, and lives the life of things with inwardness and intensity, and he transforms an art with a myriad of particular features into something serious and silent. He creates works of art that come alive by integrating the notion of reality with the notion of art, thus achieving a vibrant balance, a balance of eternal conception which refers back to a constant expression of emotions.__