| The cycle of “Plous” is formed by a module
of nine prosopa .
Each one of them constitutes a heterocity and expresses the truth of prosopon in
its own unique way .
The prosopon implies not only the freedom of having different roles
in life, but above all the freedom of being yourself. This means that a prosopon is
not subject to
rules and stereotypes. It cannot be classified in any way. Its uniqueness is
absolute. Only a prosopon is free in the actual
sense of the word.
The prosopon, as a deep and unconfused communion-in-heterocity is at
the same time the individual and the communion, the one and many, the “I” in
its plural sense. The essence of the prosopon comes together exactly
in being the revelation of truth, though not as essence and substance, but as
a way of existence which brings together in its existence the universal human
nature transcending it at the same time, since the manner of its existence is
freedom and heterocity.
The prosopon is an identity that emerges through relation. It is heterocity
in communion and communion in heterocity. It is an “I” in perpetual
motion, able to exist only if it relates to a “you”, something which
affirms its being (its hypostasis) and its heterocity. If the “I” gets
isolated from “you,” then it loses not only
its heterocity, but also its very own existence.
In this way, the prosopon is above all and most of all, a heterocity
“in voyage.” It is an “I” that has opened sail, has set off shore and is traveling
to meet a “you.”
• The happiness of this meeting is expressed
in Nautika, while the happiness of the voyage itself is depicted
in Euplous.
• Furthermore, Kalliplous embodies the bravery of
this exit from the atomicity and also the decisiveness that disregards the risk
of
“being in voyage.”
• The loving spirit that mobilizes this exit and gives
the direction is carved in Pleias.
• What is crystallized in the
sculpture STH D' is the good-natured deterioration that the “being
in voyage” brings unto the traveler. This is discerned in the face of Odysseus,
tired but full of happiness, when he finally comes in view of the familiar land,
that seems nevertheless like… some “other” land.
• The immature and at the same time
the enchanting quality of “being in voyage” is personified in The
Beardless Novice Of the Storm , while Martyria is looking at the
horror of the possible shipwreck straight in the eyes.
• The sculpture Wave farewell to the
Alexandria, which is leaving embodies the bravery in deciding to change
course, something that is described in G. Kavafis poem: ”God is excluding Antonios.”
• Finally,
in the sculpture Marginality , what is confessed is the quest
of personal relation, even when the heterocity is pushed to the margins of life.
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Martyria
Marginality