DIMITRIS PAPADATOS Ikke RÝre (Don't Touch) 2008 - x +

CN: PDim2008ikke

MT: mixed media: plastic, acrylic, ink, pencil, watercolour and charcoal on Fabriano paper (70x100 / 74x104x4)

TX: inscribed with fountain pen at rear lower right upside down <ikke røre / 2008 / Dimitris Papadatos>

DN: Mr. Dimitris Papadatos - 2008

CM: The basic element of Dimitris Papadatos' art is time - finite and inconspicuous. The surfaces are shaped loosely and non-hierarchically, in response to an idiosyncratic nature. The result is determined only by an internal need for completion; it does not depend on anything, nor does it attempt to describe something. The work appears to be following different properties at any given time, creating a subconscious layering whereby nothing is explicitly or schematically stated, and thus giving an impression of incompleteness or inconsistency. The presence of each layer is encrypted, covering up the actual image process, yet aiming for a liminal emergence in the edges of visual apprehension. The work exists only insofar as it is seen; it resides in the moment of its spectatorship. Any other interpretation remains groundless and arbitrary. "These are merely projections of my own insecurity and of the fundamental need to overcome it" says Papadatos.

Ikke Røre (Norwegian for Don't Touch) belongs to a cycle of works that started taking shape since 2007 under the title Three Days Paintings.They are pieces that communicate merely as a documentation of a process. An outlined time frame - in this case three days - conditions when the piece is started, produced and finished. As Papadatos puts it "my art is an attempt to include the mental and physical condition that I find myself in through the creation of painting". As his art is based merely on time and its projection onto his life and nature, through this gestural approach to an empty surface his body too follows the idiosyncratic rhythm of the painting as it is being created. Ikke Røre - like any of Papadatos' artworks - stands on its own, as the sentiments apparent in each, remain loosely orchestrated and abstract. Papadatos proposes "I would like my work to be seen, as the peeling of an onion, from safety to tears".

[Megakles Rogakos 09/2008]