info
chaos project

An eccentric, edible chaos

“Painting tends to be transformed into the surface of a polymorphic, infantile body…”. Describing his position on painting as a “libidinal mechanism”, Lyotard recognized the value of the image in its ability to contain and transmit the libido; to reproduce the physicality of our participation in the world.

Panos Famelis’ work, in all its forms, the relief walls, the sculptured heads and twisted bodies or the most recent drawings, is a homage to the tactility, to the physicality of materials and colors and consequently to the bowels of the painting process.

The colorful and fraudulent sloppiness of his painting, the broad masses of material that seems to be held in place almost randomly, the forms that look like barely crawling, emerging from the pulp painting (like the monster in the swamp in the known low budget horror movie), the electrified strips of plastic, pencils, enamel paint and oils that run like veins and arteries of persons in decomposition:

All are expressions of a deep desire for the physical and the material, of coordination with its properties, limbs and transformations. Famelis, a child of his generation, is communing (without necessarily being aware of that), in physical comedy, with Franz West’s pseudo – gawky objects, with the kitsch extravaganza of heterogeneous and melodramatic materials (pills, plastic gems, glitter, hair, feathers, plastic flowers and polyurethane cockroaches), in “dirty realism”, with Marilyn Minter’s snapshots of social “mud”. He is also communing in Puerto Rican Melvin Martinez’s new baroque triumphal abuse of versions of texture, in Glen Brown’s insolent usurpation of popular culture images, in the macabre sense of humor, with the dedication to the grimaces of death in art, with the speculative sculpture, with Schütte’s “character cast”, in Araki’s anatomy of lust or even in the Flemish sense of delinquency, of Jan Fabre’s grotesque and sin.

The anonymous protagonists of violent accidents or murders on Famelis tableax, the headless messengers -something between cannibal’s trophies in decay and cinematic hero props- as well as the nebulae of human characteristics and the factors of sepsis in his drawings reflect eloquently Thomas Schütte’s concern for the protocol of honoring the memories and the tricks of instant history when he noted: “In my eyes the figurative tradition failed at the point when the artist had to create heroes in a democratic system, which nowadays is something television networks can do much more effectively… Power is no longer represented by a king or a single figure; it operates through a system or many, many different, overlapping nets which tend not to be visible but to be hidden away. So the power structure is basically anonymous and it's impossible to give it a face or even a body.” (T. Schütte. Phaidon Press, 1998).

The métier of chaos in Famelis’ work has another dimension in its atmosphere, that of Bataille’s, that of the base, of the basic and humble. It even affects sensations related with culinary experiences and the full range of rich symbolism (between life and death) that the food and eating have.

Like with Hansel and Gretel’s house in the fairytale-thriller by brothers Grimm, like in Greenaway’s films (The Cook, The Thief, His Wife & Her Lover), like in Dario Argento’s Suspiria, one knows that things are not those seen just before sampling their mutated flesh, the transmutation of their texture, the liquidity of their composition, the falseness of their taste.

In Mad Love, Breton wrote that the only beauty which should be served is the Convulsive beauty, “will be veiled-erotic, fixed-explosive, magic-circumstantial, or it will not be” and noted that “would loose any meaning were it to be conceived in motion and not at the exact expiration of this motion”. Famelis’ work, sometimes space-consuming painting and sometimes unstable sculpture, as it seems to be influenced mainly by the stability of the formative and destructive process of life, by the eccentric chaos, it resembles to meet alternatively some of Breton’s terms above.

It remains to be seen if, with its grotesque excitation, black humor, peculiar physicality, calculated naivety and charming vulgar invitation to more than one of the senses, it will also allow the necessary (as per the same specification as above) force of a solution: if in other words, it will eventually become the trap that promises or threatens to be.

Curated by Nadia Argiropoulou

exhibitions

Zina Athanasiadou
Gallery, Thessaloniki, 2007

An eccentric, edible chaos

“Painting tends to be transformed into the surface of a polymorphic, infantile body…”. Describing his position on painting as a “libidinal mechanism”, Lyotard recognized the value of the image in its ability to contain and transmit the libido; to reproduce the physicality of our participation in the world.

Panos Famelis’ work, in all its forms, the relief walls, the sculptured heads and twisted bodies or the most recent drawings, is a homage to the tactility, to the physicality of materials and colors and consequently to the bowels of the painting process.

The colorful and fraudulent sloppiness of his painting, the broad masses of material that seems to be held in place almost randomly, the forms that look like barely crawling, emerging from the pulp painting (like the monster in the swamp in the known low budget horror movie), the electrified strips of plastic, pencils, enamel paint and oils that run like veins and arteries of persons in decomposition:

All are expressions of a deep desire for the physical and the material, of coordination with its properties, limbs and transformations. Famelis, a child of his generation, is communing (without necessarily being aware of that), in physical comedy, with Franz West’s pseudo – gawky objects, with the kitsch extravaganza of heterogeneous and melodramatic materials (pills, plastic gems, glitter, hair, feathers, plastic flowers and polyurethane cockroaches), in “dirty realism”, with Marilyn Minter’s snapshots of social “mud”. He is also communing in Puerto Rican Melvin Martinez’s new baroque triumphal abuse of versions of texture, in Glen Brown’s insolent usurpation of popular culture images, in the macabre sense of humor, with the dedication to the grimaces of death in art, with the speculative sculpture, with Schütte’s “character cast”, in Araki’s anatomy of lust or even in the Flemish sense of delinquency, of Jan Fabre’s grotesque and sin.

The anonymous protagonists of violent accidents or murders on Famelis tableax, the headless messengers -something between cannibal’s trophies in decay and cinematic hero props- as well as the nebulae of human characteristics and the factors of sepsis in his drawings reflect eloquently Thomas Schütte’s concern for the protocol of honoring the memories and the tricks of instant history when he noted: “In my eyes the figurative tradition failed at the point when the artist had to create heroes in a democratic system, which nowadays is something television networks can do much more effectively… Power is no longer represented by a king or a single figure; it operates through a system or many, many different, overlapping nets which tend not to be visible but to be hidden away. So the power structure is basically anonymous and it's impossible to give it a face or even a body.” (T. Schütte. Phaidon Press, 1998).

The métier of chaos in Famelis’ work has another dimension in its atmosphere, that of Bataille’s, that of the base, of the basic and humble. It even affects sensations related with culinary experiences and the full range of rich symbolism (between life and death) that the food and eating have.

Like with Hansel and Gretel’s house in the fairytale-thriller by brothers Grimm, like in Greenaway’s films (The Cook, The Thief, His Wife & Her Lover), like in Dario Argento’s Suspiria, one knows that things are not those seen just before sampling their mutated flesh, the transmutation of their texture, the liquidity of their composition, the falseness of their taste.

In Mad Love, Breton wrote that the only beauty which should be served is the Convulsive beauty, “will be veiled-erotic, fixed-explosive, magic-circumstantial, or it will not be” and noted that “would loose any meaning were it to be conceived in motion and not at the exact expiration of this motion”. Famelis’ work, sometimes space-consuming painting and sometimes unstable sculpture, as it seems to be influenced mainly by the stability of the formative and destructive process of life, by the eccentric chaos, it resembles to meet alternatively some of Breton’s terms above.

It remains to be seen if, with its grotesque excitation, black humor, peculiar physicality, calculated naivety and charming vulgar invitation to more than one of the senses, it will also allow the necessary (as per the same specification as above) force of a solution: if in other words, it will eventually become the trap that promises or threatens to be.

Curated by Nadia Argiropoulou

info exhibitions

Zina Athanasiadou
Gallery, Thessaloniki, 2007

solo show

chaos project