Professor Stelios Lidakis

The painter Alexandros Valvis sees the world as a continuous, eternal flow, coming to the obvious conclusion that ‘in the beginning was the motion’, the primary element of Creation.

Motion makes all things change. Nothing remains steady. ‘Everything flows’ Heraclitus said. And motion seems to follow a cyclical course. Everything seems to be moving around an axis, like the Earth does, like the whole Universe does.

This primary motion, the painter recognizes and wishes to claim for himself, to capture, evading the phenomenally static, in other words the deceiving image of things that surround us. And because motion is a primary element of cosmogony for the painter, he often reattempts to capture its primary forms. Thus, some of his works directly refer to cosmogony which is why they bear titles such as: Cosmogony, Potentially, In the Beginning.

The element of motion particularly concerned the futurists who tried to express it in various ways. In 1912 Giacomo Balla painted the Girl running on a Balcony (Galleria d’ Arte Moderna, Milan) where motion is perceived through the fluid representation of a recurring motif, as happens in a cinema movie; one image follows the other thus creating the sense of motion. That’s why this particular artistic movement is known as ‘cinematism’.

Alexandros Valvis renders motion, which actually creates the sense of time, with all kinds of shapes and colours, since both shape and colour are also primary elements when it comes to capturing an image. From this point of view, the whole stance and theory of primary symbolisms of cosmogony and motion find their expression in painting. The image becomes self-sufficient and imposes itself through the detailed synthesis of colours and shapes.

To emphasize the realistic flow, the painter incorporates in his paintings twigs and leaves from trees and plants which become basic visual elements of the synthesis. The realistic and the purely painting element merge, interwoven in the realm of imagination and in the platonic concept that all things are God’s fantasies.

Alexandros Valvis demonstrates a rarely broad spirit in his painting. He manages to give form to the symbols of his worldview in the most convincing manner empowering his images with a philosophical extent.

Professor Stelios Lidakis
Art Historian