Α coincidental with the international Syria civil war refugees fleeing their homeland timely series of works is the "Home" sculptures of  the young promising Greek sculptor Anastasis Leonoglou now working in our premises as a full member of the Greek Marble Initiative. The discource of the series is focused in many different aspect of Home in ones route in life, both as a past, a present and a future. A shelter or a familiar place, a torturing roots or a potential to house our hopes, a place of suffer and a place of dreams, the Home encapsulates in Leonoglou's art ecosystem the migration into manhood, in a Ulysses kind of contextual approach.

In his initial works in marble, and some installations he has delivered earlier, before joining the Initiative, Leonoglou was arguing that any effort to understand the marks for those vulnerable to contingency -such as the refugee, the exile, the homeless, the forlorn, and anyone who cannot reach out for an "ikos" (coming from the ancient Greek word "Oikos", which is being pronounced "IKOS", stands for "Home" and comes from the word "OIKOGENIA" meaning family) is meant to fail. In the works of Leonoglou "Home" is perceived as a site of provisional, a lost territory of  the Self and a tenuously sustained but tenaciously held memory. Drawing on but also challenging the assumptions of psychoanalytically-informed trauma studies, I furthermore suggest that these practices harness the constructive and creative nature of melancholic attachment to loss in order to facilitate recognition of both the material nature, and the universality of human vulnerability.

The marble they are made of may be a vigorous material; but even the resiliency of the mighty stone cannot hold off the hardships of living, thus the form of the house is either suppressed, imploding, asphyxiated, almost demolished but still holding on various arduous situations and calamities.

With an impressive technical skill the sculptor delivers the contrivances of paper, the properties of ductile materials in marble through thorough but proficient chiseling and peak plasticity qualities. Despite the grave subjects the pursue is noble because of the fine outcome, which cannot but impress the viewer and challenge positive emotions of endurance in time to prevail.




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