The “ambiguous” object

Against positivism, which stops short at phenomena – we have only facts – I would say: no, facts are precisely what we do not have, we have only interpretations.
FRIEDRICH NITZSCHE

The objects with which we surround ourselves, and to which we entrust the confirmation of the hospitality of our worldly existence, comprise the subject matter and aim of Savvas Christodoulidis’ art in this exhibition.
The moves and transpositions in his work, which revive it and make it evolve, are subtle and without commotion, although they create dramatic results. The same strategy of intimation is also used by the artist to create his artworks.
The artefacts used, in the most part utility objects, plastic chairs and tables, garden furniture, umbrellas, footballs and clothes-lines, are propelled into extreme and underhandedly violent meetings ( history of art has already told us of ‘the meeting of a sewing-machine with an umbrella on a dissecting table’) which realize an idiosyncratic whim. The ban on their function as everyday objects creates their definition as art objects. It opens the road towards a new idea for these objects and for a distressing self-conscience to those of us who use them. The choice of monochrome – or rather the negation of colour – and the unstable and fragile nature of the sculptures introduce us to a small nightmare which grows larger with the confusion caused by the repetition of their forms via a 2-dimensional format. This repetition, whether in the form of decoupage in the case of the Garden Furniture and Gateway or in the form of the artistic fabrication of other impersonal objects manages to unnerve us by extracting our sense of familiarity with these objects. The space that we create day-in, day-out, when stacking such furniture in order to sweep the balcony has now been imbued with a sculptural dimension via Christodoulidis’ intervention. The cut-out motifs of the cast-iron furniture, intersecting on two levels, force us to realise that we go through our every day lives in an acquiescent and drugged manner.
The accurate duality created by the combination of the 3-dimensional objects and their 2-dimensional alliteration poses another question, on the subject of the nature of the work of art. The most successful works of art of our age, the ones which we can relate to the most, seem to be the ones that embody this rethinking of their very nature. The aim of subversion in both directions, of both life and art is not without humour or tenderness and that is why it is effective. The black flat flower which grows between the clothes-lines seems to smell of the morbidity which we cultivate on a daily basis.


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