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Cyclades II
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The work "Cyclades II" belongs to the period when Alex Mylonas worked with thin slabs of white marble, presenting abstract compositions that are distinguished for their geometric simplicity and rigour. 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 significance, while the titles are of no particular importance; they arise after the works are completed when, in some cases, they refer to recognizable images.
Metropolitan Organisation of Museums of Visual Arts of Thessaloniki – MOMus
Title: Cyclades II
Description:
The work "Cyclades II" belongs to the period when Alex Mylonas worked with thin slabs of white marble, presenting abstract compositions that are distinguished for their geometric simplicity and rigour.
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 significance, while the titles are of no particular importance; they arise after the works are completed when, in some cases, they refer to recognizable images.
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