Concerts or how the sound can be asserted through painting. If not the sound, at least an inner acoustics.
Musical instruments in Mato Ioannidou’s paintings are born into dark depths, and are lit from the imperative movement of a dance swirl.
These are magical, poetic instruments, which turn the silence of representation into an inner commotion. By their hazy outlines, their brisk transition from shadow to light they look like inebriated bodies.
They invite you to a liberating tension, where the various senses, in the way one caters for the other, finally coincide.
Letta Christopoulou Duye
Shadows, sketches and colors pause to lay down on the painter’s white surface.
Sounds, however, do not.
Except if the artist is a reflection point from where the prime sense is extended creating a different kind of prospective, one that is inspired by the disembodied motion of the spatial rhythm. The issue then is transformed into expression and quest of the common ontology of sensorial origins.
In this particular case, the above is achieved by the flow of music that retains its motion even from within the canvas – prism of the artist.