"Mytilene" 2012,oil on canvas.
30cm diameter
"The daughters of Edward“,oil on canvas.
120 x 135cm
Untitled 2012, oil on canvas.
My mothers footstool“ 2012, oil on canvas.
110 x 120cm
Untitled, oil on canvas.
100  100cm
Untitled,oil on canvas.
30 x 40cm
“Half Peach“, oil on mdf.
15 x 20cm
Untitled, oil on canvas.
45 x 30cm
Untitled, oil on canvas.
30 x 30cm
“The chair in the attic“ 2012, oil on canvas.
130 x 120cm
“Bedroom scenery“ 2012, oil on canvas.
80 x 60cm
Untitled 2012, oil on canvas.
50 x 70cm
Untitled 2012, oil on canvas.

Battagiani Gallery Athens

Press release




‘Without the house, man would be a dispersed being. The house is a large cradle. Life begins well, enclosed, protected… When we dream of the house we were born in we participate in this original warmth’. In the myth of origin suggested by Gaston Bachelard, man, in his primordial state is sheltered. This state of being-at-home however, appears to be elusive, requiring an illusory state such as dreaming in order to be contemplated. Its unattainability parallels Heidegger’s elusiveness of an idealised home. While Bachelard presents the elusiveness of home in opposition to our current state, Heidegger’s notion of dwelling incorporates the idea of the lost home in our journey towards the essence of home.

Vasilis Zografos, through a series of enigmatic still lives and landscapes presented in the exhibition BACKHOME, attempts a similar journey through familiar painting archetypes, which he considers his personal shelter; his home. It is a journey of return, which focuses on an internal dialogue, and through the spiritual toil and mental investment required, explores the need for a temporary ovrhaul. Drawing on a subtle but at the same time persistent and substantive negation of the surrounding noise, the exhibition proposes a medative, introspective environment infilled with a great deal of humor and self-sarcasm.

In his threefold role as colllector, observer and curator, the artist revisits a set of personal references, ranging from familiar objects to seminal paintings that have influenced and inspired his practice, which brought together, compose a new manageable archive of both things and images that allows for the repositioning of both thought and the praxis of painting.

In the works of the exhibition, objects are isolated, carefully observed and contained in the space of the canvas. Hence, they are redefined as they become parts of a peculiar collection, which draws on the past but is continuously reformulated and reconstituted in the present tense. The uncanny landscapes complement the still lives by further enhancing the symbolic and dream-like character underlying the visual narrative of the exhibition. As the familiar is often rendered strange in the works, the notion of the home as refuge is destabilised and ultimately negated. After all, the home itself is neither illustrated nor is it depicted in the paintings, but is rather only inferred. Going back home is nothing more than an ample opportunity to initiate a dialogue with one’s notes.