Katia Kilesopoulou ∙ 2000 ∙ Art historian

The artistic idiosyncrasy of Giorgos Pol. Ioannidis was expressed exuberantly already since his early teenage years and has since been marked by the inner clashes and the resulting expressive intensity of the man who oscillates between his passion about the grand paintings of the past and the need to detect the challenges that have been raised by modern art regarding shape and ideology. This tension resulted in the creation of a work that is ingrained by the notion of ambiguity, convulsions and protest; the last one in particular is present not only in written form on the paintings, but also in the selection of titles emotionally charged, which all too often act with restriction as to how one views and approaches his art. A unique eclecticism, which combines features of abstract expressionism, lyrical and geometric abstraction with references to the human figure, usually in a faithful or altered transfer as miniature of parts of great works of the art history, forms a mannerism which is to be seen within the frame of the postmodern tendencies. 

Being conscious about his designing ability and his notion about colour, the artist utilizes these two possibilities in order to harness his expressiveness, his calligraphic and decorative tendency, to build his composition through the juxtaposition of the coloured volumes – of linear type – vertical, horizontal, diagonal, rectangular, circles, semi circles, stylizations – to extract from his material, the oil, more variable textures and shades. When the overflow of shapes and messages of a feverish psychological and ideological background is restricted, the artist’s intentions become more specific, as happens, for example, in several recent works with just a few colours which feature the child and the protest against any type of its abuse. Its rosy and spectral presence in an environment of chilling reminders and symbolisms emphasizes the gloomy atmosphere of a desperate artistic quest, which aims to show vital issues – deadlocks of modern life.

Katia Kilesopoulou ∙ 2000

Art historian