CM: Iordanis Roumeliotis started to paint, inspired by Abstract Expressionism in the 1980s. The Red Square on Light Blue Background is an abstract work. Its challenge is non-representation - "the sacramental part of a fully internalized and geometry empty-looking and unsolved", as the painter claims.
The title "Red Square on Light Blue Background" is borrowed from a similar title used by Kazimir Malevich (1878-1935). Refers to the geometry in 1920 gave birth to Malevich's Suprematism (f. 1915) and Piet Mondrian's Neo-Plasticism ( f. 1917). These movements are concerned with geometry that introduces the spirit into art - the belief that God created the world geometri zing in perfect symmetry, echoing Plato's dictum "Always the great God applies geometry to everything". Mondrian and Malevich were Theosophists with deep faith in God as creator of the world. God created the world with poetic disposition offering with primordial elements. The challenge for the mature artist is to be able to recreate the world from scratch. Geometry appears as of the precipitation of invisible wisdom, as a mathematical infinity, which means the mystery of creation. The world is a ideal of balance. Such artwork should be characterized by clarity, which necessitates the denial of any narrative element and self-reference as the foundation of creation.
Our civilization is based on the concept of the square - an absolutely suprematist (transcendental) shape to which all forms may be implemented. With an aim to approach the square, Roumeliotis attempted its anatomy. On the foreground, which has geometric narrative, he added the image of a red square at an angle to the background. Hence, a more complex geometric concept resulted. The foreground and background interrelate in order to create an illusion of motion - the emergence of one layer into the other. This project goes refers to the visual art that offers conceptual images, which contemporaneity calls for - the nostalgia of primordial creation.
In Roumeliotis' artworks there is a completeness like a maxim, where the image does not need or even cannot accept any other intervention. His works lack the dramatic element of emotion. They are rather conceptual and refer to the quality of harmony as an experiential condition. The repeated stripes create a troubling space that is charming to experience by sight. Although Roumeliotis aims for purtity, his works would not matter had they resulted from the precise commands of the computer. The artist is concerned with the human sense of transmitting a message that only the hand may accomplish. Therefore, he endows his artwork with a highly handmade texture. His brushstrokes highlight the wonderful defect of human imperfection.