APOSTOLOS YAYANNOS Gloria 2003 [A/D] - x +
YayA2003glor

CN: YayA2003glor

MT: mixed media: marble, copper and bronze (Ø:30x230 / BASE:15x15x17)

LC: ACG Art Store

DN: Ms. Maria Yayannou - 2007

CM: Apostolos Yayannos' Gloria is part of a series of works, whose aim was to examine visually the cross in its various guises - "Decorated; Grand; Humble; Violated; Talismanic; Miraculous; Mystical; Shattered; Preventive; Burning; Bright; Sorrowful; Joyous; Historical; and Futuristic." [Yayannos, 1999, p.74]. As a symbol the cross condenses values and ideals. The cross is man-made according to the proportions of the human figure. The relation between its two elements - the vertical and the horizontal - expresses the divine proportion of the 'golden section' (Φ=1:1,6), which Plato considered to be the most excellent division.

The present Gloria is rooted in Byzantium. It springs from a cylindrical marble base on the floor, and through a thin rod, of a height greater than man, capitulates upwards with a spire which brings forth three consecutive symbols - the sphere; the net; and the cross. These symbols are higher than man so that they may be viewed by the crowds. The sphere (copper) references the form of the orb on the Byzantine imperial scepter. It is split in two hemispheres to accentuate the vertical movement of energy. The net surrounding the sphere is an intersection between Christ's wreath of thorns and the Byzantine emperor's golden crown. The cross adorns the labarum's highest part. In an unorthodox manner it is composed of a complex knot of rods, which opens a dialog with the net's asymmetry, and eloquently expresses with it the passion and the martyirical pain of Christ's crucifixion.

The junction of the vertical and horizontal elements forms Gloria's essential destination. As in every deterministic coupling, fission, collision and split the point of junction forms a nucleus of a process of becoming. As Yayannos claims: "I try to recognize the most-maximum / infinitesimal point of junction, as well as to participate in the imprinting / conception of the energy generated through this incident or - better still - of the crowds of figures who arise when fantasy wishes to convert them to a primitive generative or non-generative cause." [Yayannos, 1999, p.74]. In any case, by the novel representation of the cross, Yayannos' Gloria underlines the necessity of faith's constant renewal.

[Megakles 09/2007]

BIBLIOGRAPHY:
BOURBOULIS / CAROUZOS / GEORGIOU / IOANNOU / STEFANIDIS / YAYANNOS Apostolos Yayannos 1974-1999 1999 Athens, p.73-74
BOURBOULIS / CAROUZOS / GEORGIOU / IOANNOU / STEFANIDIS / YAYANNOS Apostolos Yayannos 1974-2002 2002 Fotolio, Athens, p.74-75

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