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Five Circles
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The drawing “Five Circles” belongs to a section of 7 studies prepared by Alex Mylona in June 1984 for works in marble. It belongs to the period when the artist works with thin white marble slabs, presenting abstract compositions that are distinguished for their geometric simplicity and rigor. She feels that the marble ―and more specifically the marble she chooses, coming from the quarries of Dionysus, outside Athens, a material inextricably linked to the Attic land―, expresses her perfectly, since she considers it to be a simple, living material and shiny, which has its own independence and does not suit complex shapes that would hide its beauty. Squares, circles, rectangles and semicircles create compositions, properly organized and studied, where the proportions, the harmonious relations, the white color and the texture of the material, reveal to the viewer sides of aesthetic pleasure. The figures retain their pre-eternal symbolic meaning, while the titles are of no particular importance; they arise after the works are completed, when, some of them, refer to recognizable images.
Metropolitan Organisation of Museums of Visual Arts of Thessaloniki – MOMus
Title: Five Circles
Description:
The drawing “Five Circles” belongs to a section of 7 studies prepared by Alex Mylona in June 1984 for works in marble.
It belongs to the period when the artist works with thin white marble slabs, presenting abstract compositions that are distinguished for their geometric simplicity and rigor.
She feels that the marble ―and more specifically the marble she chooses, coming from the quarries of Dionysus, outside Athens, a material inextricably linked to the Attic land―, expresses her perfectly, since she considers it to be a simple, living material and shiny, which has its own independence and does not suit complex shapes that would hide its beauty.
Squares, circles, rectangles and semicircles create compositions, properly organized and studied, where the proportions, the harmonious relations, the white color and the texture of the material, reveal to the viewer sides of aesthetic pleasure.
The figures retain their pre-eternal symbolic meaning, while the titles are of no particular importance; they arise after the works are completed, when, some of them, refer to recognizable images.
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