DIMITRIS SAKELLION Hestia (Hearth) 2002-2005 [R/A] - x +
SakD2002hest

CN: SakD2002hest

MT: mixed media: graphite on wood, 2 found porcelain sculptures, 7 polaroids, 17 mirrors (30x45x25)

TX: inscribed with felt pen at rear <DIMITRIS SAKELLION / - HESTIA - / 2002-2005.>

DN: Mr. Dimitris Sakellion - 2007

CM: Dimitris Sakellion's Hestia (Hearth) is a self existent work that came into being during the period 2002 to 2005. Its starting point was a wooden board for cutting bread, charged by the domestic history revealed by the incisions on it from usage. The application of graphite, led the unreachable incisions turn into rays of lights in a symbolic energy field. Thus he returns to this work from a new viewpoint, where the conceptual starting point is the portion, the house, the private...

Hestia emits energy, not as feeling, but as consolidating force that tends to colonize space. With an aim to transubstantiate energy into tangible materiality, the artist employed shards of mirror. The complex composition of mirrors is the multiplying machine of the picture and of its parallel de-construction. By continuously idolizing the idol he subverts the work's linear legibility while leading the viewer's gaze into a shuttered experience of space and time and the encounter of a great piece of of the gigantic pazzle of the collective subcosnscious. The composition was enriched with personal photographs and ready-made objects, which give the character of domestic ornamentation while mythologizing daily life. The personal Polaroids and the porcelain bric-a-brac interact in an ironic situation that insinuates the homely and tender feeling through fragmentary pictures, which are projecting from inside outwards. Hestia is only seemingly immobile. It has an inwardness that includes the desire of movement. The choreography of reflections through the mirrors abolishes the composition's boundaries. The construction's frame is introduced in order to restore the definition of the artwork as object. Through his inclusion in the work's plane, the viewer completes the composition and becomes himself a spectacle.

Hestia represents the abstract need for a hidden fact to emerge from obscurity. It defines the boundaries of this necessity at the moment just before loosing its identity and disappears in infinity. It is the moment of tension before the fact of dispersal unfolds. Obviously Sakellion is concerned with the internal dimension of multiplicity, which - despite any amount of effort - remains unknowable. In the end Hestia reminds the viewer that the human condition is nothing but shards of perception, which he attempts in vain to retain in his visual field. Man is searching for something that would persuade him that his position is real, while in reality the 'hestia' - which makes him feel at home - is nothing but a fiction of his imagination.

[Megakles 09/2007]

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