Laura PERUGINI ∙ 2010 ∙ Art Historian ∙ Florence

                                                                 Leading painter, visionary,                                                                    unruly, bursting temperament with a rare perception.

Studying Ioannidis’ work becomes immediately perceptible that it’s about true and really great art, which is much more than a decorative game. It’s a struggle against an opponent who tries to humiliate the human being, to make him despicable existence, to release him from any obligation to the humanity. In his art we have the exaltation of human in the heights of heroic action; we have his furious passion for the overthrow of human humiliation and brutality of violence. We have a strong protest. His painting is a powerful contradiction against the opportunists of art that, depending of the demands of profit, reject the necessity of revealing the modern human tragedy through artistic expression.

His subjects and his inspiration derived from both his contemporary and his youthful experience. The human being never escapes from the sight of the artist and is always placed at the heart of his creations as for the human activities, the feelings and the interests. So the artist through the human element and with an extraordinary manner lays bare the social wounds and the masqueraded misery. He does not hesitate to praise the real beauty, which is seemingly “aged”, but he accepts it as a template, as a starting point to succeed in his works an uninterrupted progress both in his art and in his aesthetic development. He isn’t willing to give up the tested traditional life styles, thanks to a novelty of the form, which promotes the emptiness regardless of content.

His work is a continuous search – revelation of the TRUTH. It sounds bold, provocative, revealing and subversive. It’s revolutionary art that not only satisfies the eye, but teaches the audience and sets people to think.

The great talent of Ioannidis is a mixture of lyricism and insurrectionism that causes severe shock in the boggy consciences.

Laura Perugini  Art Historian

Florence ∙ 2010