That is exactly the moment that this icon pictures, being a study from an older work made by an unknown master from of the 16th century, found in Sofia.
|Picture collage with the three final stages|
|Danish St Barbara on the broken paddle|
|The Good Thief – St Dismas in repurposed construction wood|
|Scenes of the Second Coming -Photo of George Mamakis- from http://new.ims.forth.gr/
Recently, I discovered that the first church was to build in his name, and for a gentle cause- for more visit : http://o-nekros.blogspot.gr/2014/01/o.html
|Fleeing mama. in olive wood|
A mama holding her Child in her back, running away fleeing from war. I hope my work has more to say than I do, in words. To say how I feel, about this mama and all mothers and all people that abandon their homes for safety, for freedom, for peace…
|A painting with egg tempera on gesso|
The painting was executed with tempera. shellac and finally resin varnish was added- You can see its size in relation with my (small) hands
You can see more in: https://www.etsy.com/listing/258351760/fleeing-from-war-ooak-painting-in-olive?ref=shop_home_active_5
|In a bed with roses|
This is one in the One of the line of “Young Mothers” I’ ve produced in a specially treated pice of driftwood found by the beach. Somehow I had this icon of a Pink Japanese Kimono when drawing the mother’s dress. I ve also added copper gold all over the little piece of wood as a background.
|Sweet mama in pink kimono driftwood|
Usually I paint religious themes- but for me personally, the relation between a Mother and her Child belongs to the things that are holy. And that transcends my culture, my race, my nationality. Motherhood is beyond all these concepts, being so very ‘human”, bringing to mind the archetypical image of the Holy mother that protects and nurtures us all, therefore so very “divine”.
I was initially handed with a picture, looking like a photo and was asked to paint the person portrayed there, as the Christ, after descending from the cross.
It was almost impossible for me to picture a person dead, alone by itself in a picture, as a corpse in a cold- cold morgue. It made me feel a sence of disrespect for the person portrayed. It somehow seemed as blasphymous, for I intended to portray the Son of man
Then all issues of position, surroundings, colours, symboslism emerged- What would be the size, who would be with him, expressions, reactions, symbolism.
Again a piece of driftwood came to the rescue that could host- two faces. Then the image of lamentation was revealed in the wooden surface. Lamentation is actually the greek Epitaph. A procession of the orthodox church in Good Friday, that brings the sorrow the passions of Christ to its ultimate point. To its climax.
Christ could never be represented as a disrespected corpse. Only as peson much loved -as he did with us all – by his mother. In this icon Virgin Mary embodies all mothers losing their offsprings, all people left behind, all women, even nature. All the sorrow in the world.
And that what is making Lamentation, or Pieta as it is widely known, the most powerfull form of all the representations of Christ from the Descent from the cross – to the Entombement.
And so hard to paint.
And so liberating.
A young, serene mother, holding her little baby. This is always an image that is very touching and very human. I just wanted to fill her with flowers so I ‘ve added some jasmins to the picture.
I think they suit her perfectly…
It all started with a piece of driftwood, found in a beach of southern Crete. And actually that’s the most intriguing part of the creating process seeing a shape emerging from an old piece of wood, a stone, a metal…
I ve added a layer of gesso and drawn the image of the archetypical Mother “Panagia” (The Holy mother ) which came to mind as soon as I ve seen this small driftwood
For the rest I ve used used copper gold and eggtempera. Using as few colors as possible, blue for her humanity, red for her divinity and white for baby Jesus..
Let’s keep her sweetness in our hearts and share it with the people surrounding us.