Influenced by a new construction site across his studio, the artist has been overwhelmed by the geometry, the complex matrixes and synthesis of the site. His works record the image of the manmade landscape. The minimal or implied human presence consists a main structural element in the compositions of these works. Remaining faithful to his color palette, Golemas is not hesitant to create works incorporating the tension between black and white. In “Under Construction” Miltos Golemas is picturing the concept of creation; the making of the “new”.
The writer Zyranna Zateli on the recent work of Miltos Golemas:
“Since the creation of the world… These paintings by Miltos Golemas prompt me to travel back into the mists of time and legends. I see here images, representations, construction plans, sketches and insinuations of plans which urge me to reflect on how that inconceivable Ark of Noah was put together; how much toil went into that Tower of Babel as it grew taller by the day (or “sank” increasingly into its evil fate); or, to cite a Greek example, the bridge of Arta, which had little birds sing that “if it is not haunted by a human soul, no bridge will stand strong” and the wife of the master craftsman shuddered first and above all the others …
“So here we are, standing before Golemas’ paintings: the bowels of the act of building; successive meshes and even enmeshments of planks, wooden beams, “sheathing”, “formwork”, steel rods “waiting” to be built on and a host of similar elements make up a geometry which is perfect and dizzying and risky – a visual wager, I would say, against the artist’s personal “vertigo”. Sturdy, arduous and honest work, inspired from who knows what obsessions and “invisible” images in his mind, it arrives at a result entirely remarkable and unusual; it startles and transfixes us just like – mutatis mutandis – a spider’s web.
“And all around, an abyss… I would like to say a few words about what is probably hiding behind Golemas’ paintings. In early January, when I first looked at them in his studio as pretty much finished works, and while I stood there admiring the vast grids, the details and the many different visible features, I often had the feeling that I was secretly seeing – to the side, behind the works, from this or the other side – a Lake Acherousia, the mythical waterway that led to Hades! A couple of times, I thought to myself that only the Ferryman was missing with his boat – that is to say, unless he was already there without appearing (which he tends to do). A curious gloom, then, a tacit obscurity envelops these robust paintings; a suspicion of the abyss which seems to advocate a “mystical” verse by the poet Manolis Xexakis: that which can be seen hides the darkness.”
Born in Athens on 1967. He took his first painting lessons in N. Stefos workshop and then studied at the Athens School of Fine Art under P. Tetsis. His works are to be found in the National Gallery, in the Emfietzoglou collection and in others private collections.