1974, 26 × 23 cm, oil on canvas, 12 works, 12 months 430
431
432
I left with a bit of a “big head”, but when I arrived in such a great artistic city, with so much culture and so many influences, I realised that I was merely another ant among millions. After about four years, I held my first exhibition there and things gradually started taking their course. The most important thing, however, was that Paris was where I understood what Greece meant to me. You have to look at Greece from afar, you have to take away a lot of things so that only the stripped-down substance remains. And so, after sixteen years, I decided to return and converse with art in my country. P.S.
1983, 192 × 130 cm, acrylic on canvas 433
1972, 65 Ă— 85 cm, oil on canvas
I went to Paris because the woman I loved, who later became my wife, was French and was studying there. So I stayed in Paris for sixteen years. I was married there and my two children were born there. P.S.
434
1984, 120 × 80 cm, acrylic on canvas
1984, 120 × 80 cm, acrylic on canvas
435
436
1980, 25 × 32 cm, acrylic on paper
If you look at the art of painting from the painter’s viewpoint, there is no modern or contemporary element. Painting is shapes, colours, a sensation and behind it all an idea. Painting itself hasn’t changed at all; it has always been the same. What does change – that which we call modern – is the manner, the penetration into the state of things. P.S. Zo (Komotini), Spring 2007
1980, 80 × 105 cm, oil on canvas
437
1981, 80 × 107 cm, corner diptych, acrylic on canvas 1981, 80 × 98 cm, corner diptych, acrylic on canvas 438
439
1981, 46 Ă— 68 cm, acrylic on canvas
A quick look at the 30 acrylic paintings presented is enough for the viewer to see that the distinctive character of this exhibition is due to the fact that it constitutes a synopsis, a personal taking stock of his work by the artist, a recognition, a looking back over a long artistic career which never stopped generating images, symbols, ideas, emotions. Olinka Migliaresi Varvitsiotis, Traces on time, 2007 440
1981, 105 × 95 cm, acrylic on canvas
441
This valuable magnetic, perhaps erotic relationship, which becomes the even more valuable “starting point” of the painting, has always been for me an absolutely necessary process in developing my art. P.S.
1980, 29 × 22 cm, pencil on paper
1980, 30 × 21 cm, pencil on paper
1979, 70 × 82 cm, acrylic on canvas 442
443
Paris makes you think like a Greek. Like a child who has shown good behaviour in Greece, and people love you and would like for you to paint. Making a new beginning there, leaving behind that cosy little sitting room, you start to think with a mind that is not so familyoriented. Young people must experience this, to realise what they are, as opposed to what they think they are. This takes two or three years. You go through different crises. Little by little you discover things about yourself. Paris was good in helping me find myself. One incident was very bad. My studio caught fire and I was almost burnt alive myself, while all my paintings, representing four years of work, were destroyed. Starting anew, having lived through the fire – when I started painting again I had moved forward. My entire work changed. This business freed me from a mannerism and made me look at myself and my work from a different viewpoint. We all need a war, we all need to suffer something catastrophic in order to realise what, ultimately, is worth while. 1980, 43 × 33 cm, oil on canvas
444
P.S.
1980, 50 × 65 cm, acrylic on canvas
445
446
A brief review of the oeuvre of Pavlos Samios shows indisputably that he belongs to the few experiential painters of the 21st century, boldly and respectfully carrying his artistic vision and the painterly tradition of this land. Olinka Migliaresi Varvitsiotis, Traces on time, 2007
Presenting his works in Athens, the painter Pavlos Samos lined the walls of the Zoumboulaki Gallery on Kriezotou Street with nudes. It was his first solo exhibition. Kostas Koubetsos, Tachydromos, 1978
1977, 170 Ă— 190 cm, oil on canvas 447
448
The ideas are crystal-clear, memory is bountiful, history is appropriate. The work of Samios is projected with power and confidence, without provoking scandal, but also without avoiding it. Philippe Dagen, Feux sacrés, in Samios: F.I.A.C. 1986
It’s all done with the mind, you know. In the end, it all adds up to what you want to communicate and the emotions you wish to generate. What painting seeks is an emotional response; to have you look at a picture and let your admiration slip out: that “oh!” that escapes your lips before the mind intervenes to explain the whys and the wherefores. That’s what I’m after. P.S. Zo (Komotini), Spring 2007
1981, 150 × 120 cm, corner diptych, acrylic on canvas ► 1977, 120 × 160 cm, oil on canvas
1981, 150 × 120 cm, corner diptych, acrylic on canvas ► 449
450
451
1978-79, 120 × 105 cm, oil on canvas
452
1978-79, 120 × 105 cm, oil on canvas
1978-79, 120 × 105 cm, oil on canvas
1979, 120 × 105 cm, oil on canvas
Our life isn’t simple; each one of its moments is multiple. I too used to believe in great political and philosophical ideas, but in time you come to recognise the value of small things in life: someone offers you a bunch of flowers, or gives you a small gift, or a peck on the cheek in the street. The same is true of a great love, a marriage, the birth of your first child or the loss of life. It’s all these trivial-great moments that ultimately define our lives. P.S. Zo (Komotini), Spring 2007 453
1977, 33 × 24 cm, ink on paper
1979, 57 × 43 cm, lithograph 454
1977, 65 × 50 cm, oil on canvas
1977, 62 × 56 cm, pencil on paper, The room with the moon
Naked or half-dressed women; lonely, immersed in their dreams or, when there are more people involved, in a silent dialogue; women standing at the edge of a door; sitting in front of a window or on the corner of a bed; on expensive chairs in wealthy homes; squeezing into crowded cafĂŠs, enjoying life and love. Olga Mentzafou-Polyzou, Stories, big or small, 1999
1978, 60 Ă— 45 cm, oil on canvas 455
1982, 115 × 90 cm, oil on canvas 456
These paintings tell us about painting itself: that painting is a door or a window which leads to dreams; to all that is kept in the depths of our psyche. Haris Kabouridis, A dreamlike revelation inside and out, 2000
1982, 60 Ă— 40 cm, oil on canvas 457
1975, 130 × 115 cm, acrylic on canvas 458
1975, 26 × 23 cm, acrylic on plywood
1983, 130 × 90 cm, acrylic on canvas 459
The figures and objects depicted from one work to the next live in a time of their own and in a special fantasy zone. As if in a world without gravity, in a time which has stopped at the most characteristic moment in the life of the figures in each canvas. The moment is monumentalised, sanctified. And the painting is transformed into an image of sacred personal memory. 1970, 100 Ă— 50 cm, oil on canvas
1970, 98 Ă— 49 cm, oil on canvas
Haris Kabouridis, Archetypal images, 2002
1973, 40 Ă— 36 cm, oil on canvas 460
1973, 200 × 200 cm,
oil on canvas 461
1970, 80 × 60 cm, oil on canvas
1970, 70 × 50 cm, oil on canvas 462
1970, 97 × 57 cm, oil on canvas
1970, 35 × 25 cm, oil on canvas 463
1970, 53 × 44 cm, Oil on canvas, Self-portrait 1971, 50 × 35 cm, coal on paper, Self-portrait
1971, 100 × 50 cm, oil on canvas 464
1974, 25 Ă— 18 cm, acrylic on paper
It is your work that will eventually give you a place in Art. Your truth in relation to it, and not your celebrity which has been created by the mass media. P.S.
1977, 60 Ă— 45 cm, oil on canvas 465
At the time I left Greece, my work was heavily influenced by Tsarouchis, Moralis and Nikolaou. My work had a strong Greek ambience: cafés, nudes. It was considered quite romantic at the time, but well executed. In Paris I continued along those lines, but because things were different there and what I did looked very outdated, I felt the need to create more abstract works. I painted a tribute to Cézanne, and over the years I have retained something from all of my projects. In each of my exhibitions I try to squeeze what I already possess into something I do not. P.S.
1980, 120 × 150 cm, oil on canvas 466
1979, 40 × 50 cm, oil on canvas 467
1979, 30 × 40 cm, oil on canvas
468
1981, 60 × 40 cm, oil on canvas
469
1979, 21 × 26 cm, pastel on paper
1979, 27 × 21 cm, pastel on paper
1979, 56 × 86 cm, oil on canvas 470
471
1974, 20 × 50 cm, acrylic on paper 1979, 37 × 41 cm, pastel on paper
472
1971, 130 × 170 cm, acrylic on canvas
473
1979, 100 × 130 cm, oil on canvas
474
1984, 77 × 65 cm, oil on canvas
1984, 92 × 65 cm, oil on canvas
475
476
1976, 123 × 123 cm, oil on canvas
1988, 42 × 25 cm, oil on canvas, 5 Portraits
477
2002, 100 × 80 cm, oil on canvas
478
2002, 100 × 80 cm, oil on canvas
1992, 120 × 100 cm, oil on canvas 479
1976, 36 × 25 cm, fresco on plywood
1980, 89 × 116 cm, acrylic on canvas 480
1980, 35 × 20 cm, acrylic on paper
1975, 26 × 23 cm, oil on canvas
1970, 32 × 24 cm, oil on canvas
1970, 32 × 24 cm, oil on canvas
1972, 32 × 24 cm, oil on canvas 481
1999, 60 × 50 cm, oil on canvas, Aphaea
482
1978, 80 × 105 cm, oil on canvas
1995, 160 × 140 cm, oil on canvas 483
With a profound knowledge of tradition, Samios does not hesitate to use diverse materials, not in order to exhaust his technical expertise, but because their use is part of the cognitive function of the work. Olga Mentzafou-Polyzou, Stories, big or small, 1999
1993, 70 Ă— 80 cm, encaustic on leather
484
1997, 30 × 30 cm, fresco on plywood, Aphaea
1997, 30 × 30 cm, fresco on plywood, Pandora
1997, 30 × 30 cm, fresco on plywood, Isabella
1997, 30 × 30 cm, fresco on plywood, Charles 485
2009, 80 × 60 cm, acrylic on canvas, Rigas Fereos 486
1979, 70 × 50 cm, oil on canvas
1978, 60 × 45 cm, acrylic on canvas
1996, 100 × 80 cm, oil on canvas
1979, 120 × 105 cm, oil on canvas 487
1998, 110 × 70 cm, oil on canvas, Antonis Benakis
488
2014, 70 × 45 cm, acrylic on canvas, Niki Goulandris
1988, 195 Ă— 130 cm, acrylic on canvas, Maria Callas, Metropolitan Opera of New York
489
1997, 92 × 73 cm, oil on canvas
490
1997, 92 × 73 cm, oil on canvas
1997, 90 × 70 cm, oil on canvas
1997, 90 × 70 cm, oil on canvas
491
2009, 90 × 70 cm, acrylic on canvas
492
2009, 90 × 70 cm, acrylic on canvas
2010, 90 × 70 cm, acrylic on canvas 493
1984, Details of a painted work, 300 Ă— 450 cm, on a marble debossed wall. 494
2014, 170 × 90 cm,
acrylic on canvas 495
Towering cranes and warehouses. I observed them for a long time, I set up my own scenery, I “played” with them by placing barges and ships in the foreground. A world of toil and the struggle for survival emerges. You can spend a whole year painting those subjects. P.S.
1984, 230 × 215 cm, acrylic on canvas
496
1982, 50 × 60 cm, oil on canvas
1978, 70 × 100 cm, oil on canvas
1979, 35 × 50 cm, oil on canvas, Amorgos 497
1982, 11 Ă— 35 cm, pencil on paper
1982, 11 Ă— 35 cm, pencil on paper
498
1984, 110 × 200 cm, oil on canvas, Piraeus, from a photograph of that time
499
1984, 115 × 200 cm, acrylic & colour pencils on paper
1984, 115 × 200 cm, acrylic & colour pencils on paper
I grew up in the working-class district of Tavros. When I was little, my father and I used to go down to the harbour of Piraeus and from there we’d take the little boat across to Salamis to the fish tavernas. As a student at the School of Fine Arts, I used to visit the School’s Annex on the island of Hydra, and I would often take the boat to Aegina to visit my teachers, Moralis and Nikolaou. Some years later, certain businesses that didn’t have a view to the port would ask me to paint them pictures of Piraeus. Today, those paintings are historical documents of how Piraeus looked at the time. P.S.
1984, 115 × 200 cm, acrylic & colour pencils on paper 500
A harbour isn’t like a railway station, it’s a much livelier place, with boats constantly entering and leaving, and its needs are immediate and complex. Its form changes rapidly. I’ve done paintings of the old port authority building, but the clock tower was torn down before I could paint it and so I used old postcards as a reference, to show how Pireaus was in the old days and how it is today. P.S.
501
The idea of painting modern-day Piraeus was intriguing, since I had painted the old Piraeus in the past many times, often on commission by companies. Today’s commercial Piraeus has hardly been painted at all. For me, that was a challenge. I saw the tugboats, the silos, all these crates in warehouses reminiscent of New York. I got a permit and sailed all around the harbour with a tender, took photos and made drawings and then, based on those, I worked on the paintings. P.S.
502
1981, 50 × 65 cm, acrylic on canvas 1982, 180 × 260 cm, acrylic on canvas
503
1983, 100 × 180 cm, acrylic on canvas
When we go there today, we can’t grasp how Piraeus was all those years ago. Yet despite its changes, I like Piraeus; its marketplace, its fishmongers. I’m a little afraid of the modern, because it tends to flatten everything out. Piraeus has its own character; the old antique shops, the hawkers calling out in the street, the open-air markets on Sunday morning. All these things make up a very distinct character. I hope it’ll be preserved through the years. P.S.
504
1983, 100 × 180 cm, acrylic on canvas
505
1983, 100 × 300 cm, acrylic on canvas, Tourkolimano
506
507
1983, 100 × 300 cm, acrylic on canvas, Piraeus
508
509
510
2009-10, 78 × 152 cm, acrylic on canvas, Everyday light, just like in Constantinople. Paradise Café Bar 511
I was friendly with Manos Hadjidakis at the time he was composing Magnus Eroticus. He was one of the few people, like Tsarouchis, who spoke to me about Greece and ancient philosophy. To this day, I remain fixated on those theories.
2008, 75 × 75 cm, acrylic on canvas
P.S.
2008, 80 × 60 cm, acrylic on canvas 512
2008, 100 × 87 cm, acrylic on canvas
2012, 145 × 125 cm,
acrylic on canvas 513
The narrative, while steadily piquing the artist’s interest, enriches the composition with a variety of elements, each of which tells its own story. The human figure is always present. Even when it is absent, an item of clothing or a certain activity suggest its presence. Olga Mentzafou-Polyzou, Stories, big or small, 1999
The circle is always open. Nothing closes. One thing produces the other. You know, often, earlier subjects, which I considered closed, reappear in my work and are expressed in a completely different way. The subject is still there, but what changes is the method of execution; the way I think about the subject and tackle it. I’m interested in the human presence in general. The object in our life. P.S. Maria Nikolaou, Thessaloniki, 2 April 2007
514
2008, 53 × 38 cm, mixed media on canvas
2008, 49 × 38 cm, mixed media on canvas
2009, 120 × 87 cm, acrylic on canvas 515
516
2012, 98 × 137 cm, acrylic on canvas 2012, 145 × 115 cm,
acrylic on canvas 517
2009, 80 Ă— 120 cm, mixed media
A quick look at the acrylic paintings presented is enough for the viewer to see that the distinctive character of this exhibition is due to the fact that it constitutes a synopsis, a personal taking stock of his work by the artist, a recognition, a looking back over a long artistic career which never stopped generating images, symbols, ideas, emotions. Olinka Migliaresi Varvitsiotis, Traces on time, 2007
518
2009, 66 Ă— 55 cm, mixed media, Aegina
2008, 70 × 103 cm, mixed media
519
1988, 80 × 100 cm, oil on canvas
1988, 80 × 100 cm, oil on canvas 520
1989, 60 × 55 cm, acrylic on paper
1989, 148 × 65 cm, acrylic on paper
1988, 31 × 23 cm, acrylic on paper 521
1989, 60 × 55 cm, acrylic on paper, The 12 Labors of Hercules, 12 works 522
523
Many people told me so. They’d come in and say: “But what’s this story about?” I’d say: “What story?” So they’d say: “From the beginning, where the paintings start, all the way to the end – there’s a whole story there.” P.S. Radio interview to Lina Papaioannou, 1994
2002, 20 × 25 cm, egg tempera on paper, The daemon and the monks
2002, 31 × 25 cm, tempera on paper 524
Pavlos Samios is above all a storyteller. But a storyteller who doesn’t use words to tell us his stories, but rather his brushes, his pencils, and generally his feelings and his colours. Radio interview to Lina Papaioannou, 1994
2002, 31 × 25 cm, tempera on paper
2002, 20 × 25 cm, egg tempera on paper, The saddle and the donkey
2002, 31 × 25 cm, tempera on paper, The kid 525
ΣΑΡΑΚΑΤΣΑΝΙΚΑ ΠΑΡΑΜΥΘΙΑ: ΤΑ ΤΡΙΑ ΠΟΡΤΟΚΑΛΙΑ
2002, 31 × 25 cm, tempera on paper
2002, 31 × 25 cm, tempera on paper 526
ΉΤΑΝ ΕΝΑΣ ΒΑΣΙΛΕΑΣ, είχε ένα παιδί, το έστειλε στο σχολειό. Είχε μια φυλλάδα αυτό το παιδί κι εκεί, στη φυλλάδα, ήταν γραμμένη μια Πεντάμορφη. Λέγει του πατέραØ «θα πάω να πάρω την Πεντάμορφη». – «Τι χαλεύεις, παιδί μου;» λέγει ο πατέρας. Κίνησε το παιδί να πάει. Εκεί που πήγαινε, ήβρε μία γραία. Και τέσσερα χρόνια εκείνη η γραία είχε τα μαλλιά της πιασμένα από τα βάτα. Την ξετύλιξε από κειØ «τι καλό θέλεις να σου κάμω;» – «Θέλω να μου δείξεις τη στράτα όπου είναι η όμορφη του τόπου». Αυτή η γραία ήταν εκατό χρόνωνØ «αυτού που θα πας, θα βρεις μιαν αδερφή μου, άλλη μια γραία και θα έχει αυτήνη διακόσια χρόνια». Πάει το παιδί και την ήβρε τη γριά, την ήβρε που ξυνόταν (την έφαγαν οι ψείρες). Έβγαλε το χτένι και τη χτένισεØ «τι καλό θέλεις να σου κάμω, παιδί μου;» – «Θέλω να μου δείξεις τη στράτα που πααίνει για την Πεντάμορφη». – «Αυτού που θα πας, θα βρεις μιαν αδερφή μου κι αυτή η αδερφή μου θα έχει τρακόσια χρόνια κι αυτήνη θα σου δείξει τη στράτα». Πάει το παιδί πέρα. Την ήβρε τη γριάØ εκεί που την ήβρε, σάρωνε το φούρνο με τα βυζιά. Πάει κι έκοψε μια τούφα κλαριά και τον σάρωσε το φούρνο. – «Τι καλό θες να σου κάνω;» είπε η γριά. – «Θέλω να μου δείξεις τη στράτα που πααίνει για την Πεντάμορφη». – «Ας σου πω εγώ, παιδί μου», είπεØ «αυτού που θα πας, θα βρεις μια πορτοκαλιά, που θα να ’χει τρία πορτοκάλια και να πας, να τα πάρεις και να φύγεις, και θ’ ακούσεις φωνές από κοντά, να μην τηράξεις πίσω, γιατί, όντας θα τηράξεις, θα μαρμαρώσεις». Πάει και το παιδίØ εκεί που πάαινε, ήβρε μια πορτοκαλιά, πήρε τα πορτοκάλια κι έφυγε. Άκουσε φωνές κοντά, άκουσε όργανα από Σαρακατσάνους, δεν τήραξε πίσω, έφυγε, ό,τι έφυγε πέρα, λέειØ «δεν κόβω ένα πορτοκάλι, να δω τι είναι;»Ø ό,τι ακούμπησε το σουγιά για να το κόψει, «μη με κόβεις», λέει το πορτοκάλι, «γιατί με χάνεις». Κι έμασε το σουγιά. Πίσω ακούμπησε το σουγιά για να το κόψει. – «Μη με κόβεις», είπε, «πίσω, γιατί θα με χάσεις». – «Εγώ», λέει το παιδί, «θα το κόψω να ιδώ τι είναι». Το έκοψε κι εκεί που το έκοψε, «νερό», είπε το πορτοκάλι. Πάει χαμένο εκείνο. Έβγαλε το σουγιά να κόψει και το άλλο. Όταν τήραξε να το κόψει, «μη με κόβεις», είπε το πορτοκάλι, «γιατί με χάνεις». – «Εγώ θα το κόψω να ιδώ τι είναι». Ότε το έκοψε, «νερό», είπε το πορτοκάλι (γιατί, όντας θα είχε νερό, επάνω του θα γινόταν μια Πεντάμορφη). Πάει σε μια βρύση. «Εγώ θα το κόψω το πορτοκάλι»Ø ό,τι το έκοψε, το έβαλε στο νερό μέσα, παρουσιάστηκε μια Πεντάμορφη. Αυτή η Πεντάμορφη που βγήκε από το πορτοκάλι, του λέειØ «σύρε στο σπίτι, να σιαστείτε, να έρθετε να με πάρετε». Έφυγε το παιδί, πάει στο σπίτι, κι αυτή ανέβηκε σ’ ένα κλαρί κι από κάτω από το κλαρί ήταν νερό. Πέρασαν τρεις γύφτισσες. Είδαν τον ίσκιο της μέσα στο νερόØ «τι καλή είμαι και δεν παντρεύομαι!» είπε η πρώτη. Πέρασε κι η άλληØ «ούιι! Τι καλή είμαι και δεν παντρεύομαι!» είπε αυτήØ έφυγαν αυτές. Πέρασε κι η άλλη, η τρίτη,
από κοντά, τήραξε μέσα, είδε τον ίσκιο της μέσα στο νερό, τήραξε απάνω, είδε την Πεντάμορφη, που ’ταν απάνω στο κλαρί, ανέβηκε κι αυτή απάνω, εκεί που ανέβηκε πάνω, έσπρωξε την Πεντάμορφη κι έπεσε κάτω στο νερό. Εκεί που έπεσε, γίνηκε χρυσό ψαράκι. Κι εκείνο το νερό πήγαινε εκεί που πότιζαν τ’ άλογα του βασιλιά. Εκείνο το ψάρι πάει εκεί. Εκεί που ήταν η Πεντάμορφη, έκατσε η Γύφτισσα. Ήρθε το βασιλόπουλο να πάρει την Πεντάμορφη. Ήρθαν, την πήραν. Της λένεØ «τι είσαι μαύρη;» – «Τι θα έκανα, μαύρισα από τον ήλιο». Την πήραν και την πάνε στο σπίτι και την πήρε γυναίκα το βασιλόπουλο. Πάει το βασιλόπουλο να ποτίσει τα μουλάρια. Τα μουλάρια δεν έπιναν νερό, σκιάχτηκαν. Μια μέρα-δυο, δεν έπιναν νερό, φτώχαιναν. Έρχεται σπίτι, λέειØ «ένα ψάρι δεν αφήνει τα μουλάρια να πιουν νερό». Πήραν ένα γυαλί και πάνε, έπιασαν το ψάρι κι εκεί το παν, το ’βαλαν στο παραθύρι. Δεν μπόρεσε η γύφτισσα να το δει αυτό το ψάρι. – «Μωρέ τι λες», λέει ο βασιλιάς, «τέτοιο ωραίο ψάρι!» Λέγει η γύφτισσαØ «φέρ’ το δω, να το βράσω να το φάγω μοναχή μου». Το πήρανØ το έφαγε και μοναχή της. Έμασε τα κόκαλα σωρό. Της έπεσε ένα κόκαλο στη σκάλα, κι έπεσε από κάτω στον κήπο κι εκεί που ’πεσε, γίνηκε μια πορτοκαλιά. Λέγει η γύφτισσαØ «κόψε αυτή την πορτοκαλιά! Δεν μπορώ να την ιδώ». Έβαλαν εργάτες να την κόψουν. Εκεί που την έκοβαν, διάβηκε μια γραία. ΛέγειØ «δώσ’ μου κι εμένα μιαν αγκίδα, να πυρωθώ το βράδυ!» – «Μαλώνει ο βασιλιάς», λεν οι εργάτες. – «Τρυπώνω εγώ και δε με βλέπει». Της έδωσαν μιαν αγκίδα. Εκείνη η αγκίδα ήταν η καρδιά της πορτοκαλιάς. Εκεί που πάει η γραία στο σπίτι, άναψε φωτιά. Έκοψε ψίχα αγκίδα κι έριξε νερό κοντά, να τη σβήσει, να πλαγιάσει. Όντας έριξε νερό, φοπ, γίνηκε γυναίκα. Σκιάχτηκε η γραία. – «Μη σκιάζεσαι», της είπε. Ήταν ντιπ ξεσάρκωτη η γυναίκα. Σε κάμποσον καιρό, έκανε πανηγύρι ο βασιλιάς. Προσκάλεσε όλους, προσκάλεσε και τη γραία. Πάνε στο σπίτι κι έφαγαν ψωμί. – «Θα πείτε όλοι», λέγει ο βασιλιάς, «από ένα παραμύθι». Άρχισαν όλοι κι είπαν όλοι από ένα παραμύθι. Ήρθε η αράδα και της κοπέλας να ειπεί παραμύθι. Αρχίνησε κι η κοπέλα, λέειØ «εγώ ήμουν ένα πορτοκάλι κι ήρθε ένα βασιλόπουλο και με πήρε. Από κείνο το πορτοκάλι γίνηκα εγώ. Με άφησε εκεί και πάει στο σπίτι για να έρθει να με πάρει. Εκεί πέρασαν τρεις τουρκογύφτισσες. Πέρασε μιαØ "ούιι! τι καλή είμαι και δεν παντρεύομαι!" είπε η γύφτισσα. Πέρασε κι η άλλη, είπεØ "ούιι! τι καλή είμαι και δεν παντρεύομαι!" είπε αυτή, έφυγαν αυτές. Πέρασε κι η τρίτη, με είδε εμένα που ήμουν επάνω, και με γκρέμισε. Έπεσα αποκάτου και γίνηκα χρυσό ψαράκι κι ήρθα εδώ, στο νερό του βασιλιά και σκιάζονταν τα μουλάρια να πιουν νερό, κι ήρθαν και μ’ έπιασαν και με έβαλαν σε ένα παραθύρι απάνω και δεν μπορούσε να με ιδεί μια γυναίκα, με έβρασε και με έφαγε κι έπεσε ένα κόκαλο από μένα κάτω στον κήπο και γίνηκα πορτοκαλιά. Έκοψαν την πορτοκαλιά κι ήρθε τούτη η γυναίκα και πήρε μιαν αγκίδα και την έβαλε στη φωτιά κι έριξε νερό να τη σβήσει κοντά κι απέκει γίνηκα εγώ πίσω». Η γύφτισσα πετσοκόφτηκε (και τότες είχαν κλείσει τις πόρτες) κι είπεØ «ανοίξτε τις πόρτες και κατουρήθηκα!» Κι έπιασαν τη γύφτισσα και την έσφαξαν κοντά και πήραν την κοπέλα κοντά, την Πεντάμορφη, κι ήρθε κι η γριά στο σπίτι του βασιλιά.
2002, 31 × 25 cm, tempera on paper
From Carsten Hoeg, Sarakatsan Folktales Illustrated by Pavlos Samios, translated by John Davis and published by the Angeliki Hadjimichali Foundation and Agra Publications, Athens 2003
527
1968, 35 × 50 cm, acrylic on paper 1977, 27 × 38 cm, acrylic on paper
528
1976, 25 × 35 cm, fresco on plywood 1976, 35 × 50 cm, fresco on plywood 1976, 27 × 40 cm, acrylic on paper
1976, 102 × 112 cm, oil on canvas ►
529
530
531
1968, 45 × 55 cm, oil on canvas
532
1985, 50 × 70 cm, acrylic on paper
1968, 32 × 46 cm, tempera on paper
1985, 50 × 70 cm, acrylic on paper
1976, 27 × 38 cm, acrylic on paper 533
2004, 100 × 150 cm, oil on canvas
534
2004, 100 × 150 cm, oil on canvas
535
1981, 36 × 25 cm, egg tempera on paper 1981, 36 × 25 cm, egg tempera on paper, L’ETRANGLEUR S’EXCITE 536
2000, 60 × 60 × 112 , 1 work, infinite life moments, from an exhibition at the Karydion Art Center. commisioned work, acrylic on plywood
2000, 102 × 69 cm, elevator panel, tempera on paper 537
538
2012, 18 × 13 cm, watercolour
2012, 18 × 13 cm, watercolour
2012, 18 × 13 cm, watercolour
2012, 18 × 13 cm, watercolour
2012, 25 × 20 cm, watercolour
2012, 25 × 20 cm, watercolour
2012, 25 × 20 cm, watercolour
2012, 25 × 20 cm, watercolour
2012, 18 × 11 cm, watercolour
2012, 31 × 25 cm, watercolour
2012, 25 × 20 cm, watercolour
2012, 31 × 25 cm, watercolour
2012, 25 Ă— 20 cm, watercolour on paper 539
2012, 21 × 21 cm, watercolour on paper
IONIAN FLORA From an exhibition at Cephalonia Botanica of the Focas-Cosmetatos Foundation 540
2012, 21 Ă— 21 cm, watercolour on paper 541
2001, 27 × 22 × 18 cm, Roc acrylic paint
2001, 22 × 30 × 58 cm, Roc acrylic paint 542
2001, 28 × 25 × 15 cm, Roc acrylic paint
2002, 140 × 55 cm, decoupage on plywood
2001, 28 × 20 × 28 cm, Roc acrylic paint
2001, 35 × 18 × 40 cm, Roc acrylic paint
2001, 35 × 18 × 40 cm, Roc acrylic paint 543
Αrchetypal Ιmages: Women embracing the mythical dragon, a land fruitful with ancient poetic stories and allegorical shadows in Plato’s cave. Haris Kabouridis, Archetypal images, 2002
2001-02, 85 × 70 × 48 cm, Roc epoxy colour 544
I’ve always been interested in sculpture. I had tested my skills on wood, marble and granite for the sake of experience. But this time I chose to see, set up in space in synthetic plaster and fast colours, a subject I have explored extensively in my paintings, but for which I had had a sculptural sense all along. P.S.
2001-02, 100 × 44 × 73 cm, Roc epoxy colour 545
546
In a leading role, we see not only his characteristic, monumentally-sized wome with their expressive hands who copulate with dragons, but also the dragons themselves, which return to his paintings less terrifying and more erotic than in 1985, “expressing the power which lies hidden in women”. Mary Adamopoulou, Ta Nea, 24 October 2002
2001-02, 143 × 62 × 43 cm, Roc epoxy colour 547
1972, 85 × 105 × 60 cm, plane tree
wood
1973, 37 × 45 × 22 cm, granite
548
1973, 60 × 38 × 25 cm, olive wood 549
1972, 43 × 30 × 3 cm, oil on wood, Self-portrait
550
1972, 95 × 20 × 18 cm, oil on wood
1971, 25 × 18 cm, pencil on paper
1972, 19 × 9 × 5 cm, olive wood
1972, 21 × 15 × 15 cm, olive wood 551