At Medusa, Dimitris Tragkas defines points, joins them with lines, and creates a complete work that moves his work since “Zeppelin” (1993) forward absolutely consistently and maturely; it justifies it, pushing us to see it as a mental “image” of points from multiple centers. The artist has recorded his thoughts and his artistic journey in squares, essentially chasing the center of the world which he alternately destroys and reconstructs, analyzing it. We’re unwitting led to Platos’s Timaeus in order to seek that which Tragkas does:
“For as the universe is in the form of a sphere, all the extremities, being equidistant from the center, are equally extremities, and the center, which is equidistant from them, is equally to be regarded as the opposite of them all. Such being the nature of the world, when a person says that any of these points is above or below, may he not be justly charged with using an improper expression. For the center of the world cannot be rightly called either above or below, but is the center and nothing else; and the circumference is not the center, and has in no one part of itself a different relation to the center from what it has in any of the opposite parts.”
The endless flow of thought is expressed consciously or unconsciously through experiences or acquired knowledge, that is, through the intercommunication among them that shapes a continuity in the course each one of us follows.
This process penetrates different truths. The “treasure” matures through the composition of multiple terms of approach defining the center of the truth each time.
Maria Maragou in the Athens daily Eleftherotypia, 16/3/2000