THANASIS PALLAS Ich (I) 1994 [R/F] - x +
PalT1994-ich

CN: PalT1994-ich

MT: pencil on paper in glazed wooden frame (28x19 / F:30x21x1)

TX: signed with pencil at lower right in Greek <Pallas '94>, inscribed at upper center in German <"ICH">, at center proper <ICH>

IL: Megakles Rogakos 2008, #179

CT: KX-Kunst auf Kampnagel, Hamburg, Germany - 2007

CM: The Ich (I) of Thanasis Pallas is a sketch for construction, which functions as a model by which to perceive the world. It belongs to a large series of works, where each drawing becomes the basis of subsequent evolution for the next drawing.

On the paper's surface Pallas draws a geometric representation of a sequence of circles, where one is included in the next, in the direction from the position of the viewer towards his idol. When we find ourselves in front of a mirror occurs a curious psychological convention. We see the 'I' of us - something that previously was not the case. This drawing represents a cross section of this very moment.

The I forms the portrait of the viewer as reflected by the mirror, recording the perception of his idol. The viewer is the functional 'I' (EGO) at the bottom part out of the mirror, while his idol is the aesthetic 'I' ("EGO") at the top part in the mirror. All the intermediate points are intersections of redefinition, which the viewer recognizes as part of himself in the space from his actual position to his idol. At the same time, the drawing records by a growing spiral the viewer's experience in the course of the approach of his idol from one intersection of redefinition to the next. Each intersection belongs to an inner tier of I, while the surrounding dots represent elements of memory. The spire is formed by an arrow that moves rhythmically over the intersections, performing the dance of the labyrinth (according to Pausanias, the labyrinth is a cross section not of an architectural maze, but of dance).

The I of Pallas relates to his self-portrait as much of the artist as of the viewer. Vision and observation are procedures that give the impression that we are moving visually and mentally towards a surrounding world. What actually happens, however, is that while we are moving visually towards the outside world, essentially the mental process goes against our inner memories. Essentially we correlate the impulses of outdoor space with the already registered memories.

[Megakles Rogakos 08/2007]

BIBLIOGRAPHY:
ROGAKOS, MEGAKLES Silent Dialogues: Multimedia Portraits Throughout Time 2008 The American College of Greece, Athens

ACG BIO
© THE AMERICAN COLLEGE OF GREECE: ACG ART.ACG ART