The works of ast produced by the sculptores Sotiriades are a continuation of the long journey which began with their juvenile "Hyperchords" and took them through a series of "bio-landscapes". As a dweller in a small country who posseses the inspiration and the everyday perseverance to approach with sensitivity the things and situations which surround us, they have succeeded in recent years in showing us them highly significant proposition in the realm of sculpture and constructions. In the two exhibitions of them work held to date ( "Hyperchords" at the Municipal Pavilion on the Lake and "Bio-Landscapes" in the Basilica of St. Mark, Heraklio ) them have made us very aware of their experiential relationship with their objects, and them have been successful in restoring communication with the environment through the world of their art, which we can see to be advanced and which attempts to cultivate a more general relationship between the people of this country and the art-works it produces.
2. THE ENVIRONMENT AND THE CITY
Agios Nikolaos is a small town, but one particularly blessed in the composition of its natural environment. Thetopography of the terrain and the way in which the city is laid out on the side facing the sea go to make up a perceptually organised whole rarely found elsewhere. The visitas in close-up and the broader natural environment possess unexpected and variegated qualities which we perhaps fail to appreciate, because of our own everyday and -ultimately- static relationship with the place.
This Place, as natural and anthropogenis space enhanced with all the historical, social, economic and cultural parameters of which it consists, has points of outstanding quality which can be see in a manner differing from the conventional approach when we attempt to draw on the stock of dynamic initiatives which themselves provide us with thescope to do so.
The Lake of Ag. Nikolaos is a point of reference and a local centre for, the fabric of the town, and it is without doubt the most powerful visual and spatial experience which those who use or visit the town will take away with them. It is a natural feature which blends unexpected and extreme topographical qualities, where the sea, in the amphitheatrical and concave organisation of the whole, refers us to a podium of shifting iridescences and impresions throughout the day and throughout the year. It is natural space in a composition without hierarchy, which tends at every moment to restore delicate balances through the dicordon and chaoic presence of its signals. It is space which is ideal for comment - why not? - for an oracular description of our relationship with our natural environment parameters of which it consists.
3. THE SCULPTOR'S ENVIRONMENT
The inspiration of the sculptores Sotiriades and their artistic production over the last few month gave their preference to this natural theatre as the location in which to develop, through the events in "happening"; the artist's comment on, and anxiety fowards, our relationship with the natural environment, with the perspective of this place, which is only a small part of the planet Earth. The Tree - that primary unit in the forest, that everyday point of reference for human anxiety, concern of foolish ignorance, symbolicaly and historically charged with multiple significance and the special place it occupies in all the civilisations and cultures of the peoples of the Earth, that bond between and unifying reference of all those who "think afar and act close at hand", that living and vital cell in the nature which also contains man and his often, unbearable lightness ( personal interest, ignorance, intention ) and which nonetheless insists on bearing flowers and leaves and giving us fruit and a breath of life - the Tree, then, is a Protean point of reference selected for the composition of an oracular, anxious, sensitive and at the same time visually flawless presentation in the natural landscape of the Lake. One tree, many trees, in the hard metal which the artist knows very well how to mould and shape, stand on light floating structures in the Lake arranged in a geometrical and regular organisation.
Our only answer to the chaos and discorder of nature can be rhythm and order; the arrangement of things in such a way as refer to the notions of Descartes, to the geometry which nature ostentatiously ignores and which yet gives us breath, life.
This intervention in the environment, temporary and reticent - for how can the artificial withstand the contrast with the primary substance of this country, nature? - is enhanced with the comments and eleborations of the artist's inspiration. This happening, with its unforeseeable developments, is testimony to the dynamic relationship between ourselves and those who destroy nature. This transformation of natural space, of short and strictly determined, a priori, chronological duration but of long - lasting reverberation has the direct aim of appropriating space by means of a frenzied and - why not? - exhortatory link with the anthropogenic environment which we, nightmarishly, tend to produce in our technological activities. Disturbed entropy may perhaps acquire meaningful content, even if the flight of a butterfly strikes us as painless. Ultimately, I believe that the artist's discourse and the form and content of his expression are a signal entity which is to be approached experientially. The game with scale - large scale, small scale and more is certainly continuing, and its outcome is undoubtedly unpredictable.