23, Sidiras Merarchias Str.
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National Gallery & Alexander Soutzos Museum - Annex in Nafplion
Wednesday & Friday: 10.00-15.00 & 17.00-20.00
Monday, Thursday, Saturday, Sunday: 10:00-15:00
Monday: admission free of charge
On Saturday November 9th, Giorgos Rorris visited the National Gallery and Alexander Soutzos Museum Annex in Nafplion where he had a conversation with young people, candidates for the School of Fine Arts, as well as art lovers of Nafplion.
Painter Panayiotis Tetsis, Giorgos Rorris’ master, impressed by his student, spoke highly of Rorris’ talent that undergoes ‘the ordeal of truth’. This process of unraveling the truth has been his main focus throughout his painting, recording the human figure and its identity on site.
The current periodic exhibition ‘Somatographies – Contemporary Greek Painting from the Sotiris Felios Collection’ gives the audience the opportunity to get an insight on Giorgos Rorris artistic course through his works, i.e. Elisabeth –one of his first nude women portraits, Blue Alexandra, as well as other paintings of smaller dimensions.
During the discussion, Giorgos Rorris focused on the nude portraits -a vital theme in his painting for the last fifth teen years- placed in the familiar space of his studio. Freed from their clothing and the social symbolism that they convey, the nude portraits mirror the painter’s endless effort to discover their identity through their sight. Only when the model finds their place in the studio, the painting process begins. The painting focuses on the body and, at the same time, evolves around it. The body itself dissipates its aura on the wall while the flooring boards are expanded outside the painting, in the viewer’s actual space.
Rorris characteristically noted that according to Nietsche ‘for a painting to be completed, fascination is crucial; the work of art is the result of the delicate balance between the Dionysian and the Apollonian element of human nature’. Furthermore, he highlighted the elements of his painting. He analysed the element of form that mirrors the human flesh and the interior of the studio (walls and floor), with a distinctive technique, using multiple layers of cold and warm colour tones. In this way his paintings come into life; his painting is not a simple quotation of its elements rather a dramatic placement of the elements, and thus the painting is a ‘palimpsest’.
Rorris, addressing the young people, remarked that ‘painting requires the artist’s dedication, everyday practice in the studio, an affection to loneliness and silence; and at the same time the awareness that everything depends on the hand, this precious part of the body that tends to become idle nowadays’.
This long, in-depth engagement with Rorris and his paintings was of great value for all audience members. A student-candidate for the School of Fine Arts noted characteristically that this encounter was an inspiration, ‘a guide to their professional development’.
Mrs. Lambrini Karakourti-Orphanopoulou Curator of the National Gallery Annex in Nafplion