With his new work, Haralabos Katsatsidis validates the quality and the possibilities, the solid artistic education, the complex experimentation, the coherence and the consistency, the wide and the conquered maturity of his artistic and plastic research. Large-scale projects reveal the full possession of expressive means, the experience and knowledge of the problems of form and design, composition, structure and space, the function of color. The material, its handling and its processing, claim a primary position in the Painting Act. A touch of fluid color becomes the starting point for the creation of a whole universe of shapes – peculiar and riveting, ambiguous and cryptic – where the figuration is involved with the abstract. The plasticity, density and scuffle of the shapes, the expressionist deformities, the intensity of the black and the chromatic flashes, the design acuity and the dominant grids of the lines, the strength and roughness of the gestural painting, create counterpoints and balances, movements, routes and postures, impart rhythm and dynamism, clarity and vitality. A whole world, paradoxical, ambivalent and shattered, emerges like a meteor on the verge between fantasy, dream and reality. (Yannis Bolis, Art historian)

Haralabos Katsatsidis

Gogo`s Ieromonachou paintings makes good use of the great European visual tradition with sensitivity and knowledge, whilst it wants to talk personally through identification, elaborate symbolisms and theatrical tranvestism. Painting that exploits large scales, the dramatic gestures to talk about great passions, dramatic moments that concern both the artist and the viewer who submits himself to the rules of such game. A game in which the canvas becomes a theatre stage on which images of a past that never ceased to be current and of a present that eternally seeks its interpretation, come to life. A game, which demands of the figure to not only have a morphoplastic nature, but also to be a role, a persona which passionately narrates. A face-mask sometimes immensely grotesque, sometimes fiercely deformed, sometimes a clownish caricature and sometimes a mirror of an expressionist drama telling stories. A kind of Neo-Baroque scenography of the self… Something which is pleasantly surprising, especially in an era where painting is either academically programmed, or conceptually programmatic. (Manos Stefanidis, Art historian)

Gogo Ieromonachou

Tasos Misouras’ art balances between the need for a “narrative” - a narrative totally personal – and the process of continual transformation and transfiguration of the visual reality into a new one – abstract, liquid and fragmentary, suspended on the verge between phantasy and dream, of the familiar and the unfamiliar, the explicit and the inexplicit. His solid artistic knowledge, the continual experimentation, the study and the profound familiarization with the great bed of the European painting tradition, the broadness, the consistency and the quality in his morphoplastic quest, are ongoing throughout the artist’s route. His painting, deeply anthropocentric, directly connected with psychic and emotional conditions as well as with spiritual processes and functions, is opening up; it explores new representation possibilities and mental mechanisms to “produce” pictures, invoking a deeper communication and contact through the ambiguity, the internalization and the symbolism of its subjects; through their sad, insinuating and, sometimes, ominous atmosphere.In Tasos Misouras’ setups the unusual coexists with the enigmatic, the emotion and the sensitivity with the drama; the horrible and morbid element lives together with the irrational and the element of exaggeration; the grotesque with a creeping eroticism and a subcutaneous narcissistic sense. Despite all this, the lyricism, the subversive spirit and the romantic feeling are still present. (Yannis Bolis, Art historian)

Tasos Misouras