The series of works, entitled “Sol Non Balayé”, has been created especially for the exhibition “Food” in Marseille, strongly believing that makes a comment with a sufficient statement, related to issues that affect societies in distress; at the same time, finds a unique and creative way to use the sense of vision for those things that can be considered a relic, pleasure, still life, painting. The Hellenistic floors that immortalized the remnants of a finished “Symposium” are offered as temporal references of viewing the natural world which becomes visual. It is a convey of nature in a fictional text both one to step on it and see it.
The idea behind this series of works evolves gradually and follows two key moves. These movements are of an exclusive direction upwards, it is actually an uplift. The first one drags the theme from the floor and makes it come off and the second one raises the whole composition to be mounted on the wall, this time, as a painting. The painting derives material to make its own recordings and interpretations, without the element of imitation. Furthermore, it makes a temporal commentary on the situation of the societies of plenitude and uses it as an example of a returned loan of abundance that characterised the Hellenistic and later the Roman era. A political comment to the feast of the recent years in Greece, with clear references to archeology and points to the fact that mass consumption is a decadence phenomenon in every period of a deluxe way of life.
These works can be considered studies of leftovers that have been upgraded to the category of still lives. Moreover, they function both as autonomous entities and also in the unity of a whole. A moment of a luxury dinner served again and again in the flow of history, a floor that is covered under the pile of what was once food.
The main objective is to transform every theme into exhibit, while moves back and forth, and tries to follow the consistency of the metronome but in the end acquires its own tempo.