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Bridges
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The sculpture "Bridges" belongs to a series of works executed by Alex Mylonas in June 1984 for works in marble. It is the period when the artist works with thin slabs of white marble, presenting abstract compositions that are distinguished for their geometric simplicity and rigor. She feels that marble - and more specifically the marble she chooses, coming from the quarries of Dionysos, outside Athens, a material inextricably linked to art in the Attic land - expresses her perfectly, since she appreciates that it is a material that is unadorned, alive and shining, which has its own independence and is not suited to complex shapes that would hide its beauty. Squares, circles, parallelograms and semi-circles create compositions, well organised and studied, where the proportions, harmonious relationships, white colour and texture of the material reveal to the viewer areas of aesthetic pleasure. The shapes retain their ancestral symbolic meaning, while the titles are of no particular significance. They emerge after the works are completed, when, some of them allude to recognizable images.
Metropolitan Organisation of Museums of Visual Arts of Thessaloniki – MOMus
Title: Bridges
Description:
The sculpture "Bridges" belongs to a series of works executed by Alex Mylonas in June 1984 for works in marble.
It is the period when the artist works with thin slabs of white marble, presenting abstract compositions that are distinguished for their geometric simplicity and rigor.
She feels that marble - and more specifically the marble she chooses, coming from the quarries of Dionysos, outside Athens, a material inextricably linked to art in the Attic land - expresses her perfectly, since she appreciates that it is a material that is unadorned, alive and shining, which has its own independence and is not suited to complex shapes that would hide its beauty.
Squares, circles, parallelograms and semi-circles create compositions, well organised and studied, where the proportions, harmonious relationships, white colour and texture of the material reveal to the viewer areas of aesthetic pleasure.
The shapes retain their ancestral symbolic meaning, while the titles are of no particular significance.
They emerge after the works are completed, when, some of them allude to recognizable images.
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