CM: Omiros Kosmidis' Omphalos is from a series of work that was exhibited in 1996 as his dissertation at the Athens School of Fine Arts. All the works in this series share the same logic - a frame that determines in space the content of each work. Kosmidis is interested in the work as process – the effort to organically incorporate objects in the work. Kosmidis created his work in a horizontal position. He determined the space with a found old frame, and by inscribing on the background two diagonal pencil marks located its centre. On the surrounding space he sparkled white sugar, which he transubstantiated by means of a flame torch. As the sugar melted, it took various nuances that range from caramel to coal. This particular technique in combination with the materials creates an amazing depth that creates a sense of interminability. Thus, the environment around the centre shapes a cosmic nebula. The work from 1996 up to today has undergone further change. The liquidized sugar - despite being covered by polyesteric resin - moves and the nebula changes form. On top of the intersection of lines Kosmidis placed a found scuttle of a washing machine. The scuttle serves the work as magnifying lens, stressing the importance of the point that is determined by the eternal coincidence of the two lines. This point is identified with the Omphalos not as a human organ, but with its Delphic significance, as centre of the universe. It is reported in ancient texts that when Zeus let two eagles fly from the limits of the universe in order to locate the center of the world, they met at the point of the oracle of Delphi, which was since considered as navel of the earth. For many centuries Delphi constituted the intellectual and religious center and the symbol of unity of ancient Hellenism. On a personal level the Omphalos expresses the need to identify the beginning and the end of life, as a means to `know thyself'. Such research, which is the hidden reason for every work by Kosmidis, shows that the start and finish identify with the section of the two lines, while between them exists the chaos of multiplicity that is created by the combination of disparate materials.