MT: 3x(36x66) | 1: charcoal and graphite on Ingres paper | 2: charcoal, chalk and pastel on Ingres paper | 3: chalk and pastel on Ingres paper
TX: 1: inscribed with pencil at lower right of picture in English <PLAN OF a DELPHIC ANNEXE ON THE MOON / PART A>, at lower right <"DELPHI / [English] DELPHI">, at right <amn 2004>, signed below in Greek <Alkistis Michaelidou>, inscribed at lower right of mat <1/3> | 2: inscribed with pencil at upper left of picture in English <OLD TEMPLE>, at upper center <PLAN OF THE / DELPHIC ANNEXE / ON THE MOON / land survey / physical features / survey marker>, at right <11-03-09 construction / [English] odometer>, at center right <PART B>, signed at lower right <Alkistis Michaelidou>, with pastel in Greek <amn 2009>, inscribed at lower right of mat <2/3> | 3: inscribed with pencil at lower right in English <PLAN PART C>, signed at lower right <Alkistis Michaelidou> / amn 07'>, inscribed at lower right of mat <3/3>
CM: By general consensus, Delphi occupies a special place of global geography, in the southwest slopes of Mount Parnassos. In antiquity, it was regarded as the world's omphalos (navel), which is also indicated by the name 'delphys' (womb). At the evocative landscape formed between two gigantic rock formations, the Phaedriades, is the panhelenic and multireligious temple of Delphi and the most famous oracle of ancient Greece - a symbol of unity of ancient Greece. Thinking about Delphi, Alkistis Michaelidou was interested in the spirituality of Delphi c landscape as expressed in three different visual approaches forming a single triptych. The composition of all three versions is partly classical with the action channeled from the center to the perimeter. The landscape is presented changing, incomplete and fragmented in its evolution and construction (Delphi I.). The natural forces coexist and interact with the structural forces. The structural component is essentially the lines that enter the composition abstractly (Delphi II.). The overall composition gives the impression of a continuous outplacement. The light and shade overcome naturalness and create an overturned relationship resembling a photograph's negative or lunar landscape (Delphi III.).
The Delphi I. version at first glance resembles a naturalistic representation of the landscape. In essence, however, it forms a psychograph of the area. At Delphi landscape has an intensity owing to the chaotic nature and the constantly changing weather conditions. It is these qualities that the painter describes with her gestural strokes. The landscape flows like a natural force expressing tension and anger together. Michaelidou's Delphi compose an angry scene. Earth and sky are reproduced in a gestural manner. The sky is ripped through the very process of artistic gesture. Michaelidou declares about her work: "I wanted not to see Delphi, but to feel Delphi. I had to find the measure of anger that they contain. There is a moment when one holds the anger and is in control of it. The rendering of landscape does not betray whether it is a wave or a mountain. It is an outbreak. It is caused by Delphi as a religious and natural place in the sense of its evocative charm."
The version Delphi II. continues the investigation of Delphi I. with an aim to reveal the spirituality of the place. Here Michaelidou describes characteristically an internal power of Delphi. The power takes the form of structure, which fragments earth and sky. Fragmentation, also suggests the fact that the understanding of things is fragmented. As if resulting ironically from a topographical study, Micha e lidou placed a ruler in the heart of the picture like a tool - an ironic sign of the inability to learn Space. Michaelidou refers to "straight line as the minimum reference to structure" and to "gestural writing as the minimum reference to nature".
In version Delphi III., all elements of the landscape - structure, style, pace and line - integrate and become one. The picture represents landscape as a source of unknown strength and energy, whose perspective changes by means of fragmentation. The picture introduces the concept of the framework, which is embodied in the landscape as a metaphorical collision of restrictive measure and impulse, reason and anger. All is defined through fragmentation, having to do with the framework and by extension the mind - as a way of understanding things. The successiveness of frameworks, as recurrence rhythm of fragments is an instrument and means of transference and climaxing of meanings and concepts. The fragmentation of vision and knowledge is reflected on the whole as a feeling of welding unweldable components. Thus Michaelidou takes refuge in a compilation of extracts of landscape, always taking into account its structure, measurement and material. Structure and nature complete one another as much on an aesthetic as on a conceptual level. The final landscape is presented as sequential composition and incomprehensible composition of gesture, rhythm and structure. As a matter of fact, this fragmented and evolving tendency characterizes the bulk of her work. As she herself characteristically described: "the landscape is fragmented in such a way as to incorporate its fragments, and then this extends until it appears to be metaphysical and absurd". In this third version Michaelidou introduces Delphi as universal landscape. Her reason is the moon, which was considered by the Orphics to be complementary to the earth and was called 'Antichthon' that is 'anti-earth'. As she herself claims: "I had in mind an annex of the Delphic oracle on the moon!". As mentioned earlier, by reconciling Apollo with Dionysus Delphi was a multireligious place. Therefore, the annex Delphi on the moon is dedicated to Dionysus and can be seen as a metaphysical supplement to the Delphi of the earth with its temple of Apollo.