The exhibition contemplates the transition from day to night, not so much in terms of time, but rather in relation to the spatial aspect, the evening space. The margin between day and night is displayed as a moment of sensitive lucidity outlined through a new series of paintings divided in three subsections.
In the horizons, which are the largest works of the exhibition, natural space is transformed into a painted tonal field and the feeling of certainty provided by the natural landscape – where the line of the horizon functions as an orientation instrument – is undermined. At the same time, these artworks allude to the existential issues of time and death addressed by the exhibition as a whole. The depictions of internal spaces refer to the psychology of the evening, as static boundaries between the objects and the empty space are degraded to a permeable membrane. Thus, time is ostracised in artworks depicting statues. Having casual photographs of museums as a starting point, this series examines the atmospheric distance between the viewer and the statue.
Following his previous oeuvre, space in Yannis Malegiannakis’ artworks is traced and gradually captured on the painting surface through a process suggestive of the emergence of the latent image in analog photography. This act of reversing the gaze towards the insides of the image marks the opening of a visual, incorporeal space descending from the real space, yet progressively gaining autonomy and creating a sense of closed reality.
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