..."They may show terrible scenes, but they do show them in a very artistic, and an aesthetic way – the aesthetic, in scholarly discourse, is never to be confounded with the beautiful – but all in all they do demonstrate that there is something fundamentally wrong in human activities motivated by the dark forces. And, sometimes without naming it, they make it clear that the solution to the problem is the Glory and the Clemence of God Almighty."
Mirrors And The Mind
Notes on the Art of Marios Siakantaris
art review by
Art Historian Dr. Charles Gerhard Rump
The associations connected to mirrors – from Narcissus to the Creator who allegedly used clay to form the first human being – also enrich the impact of the works. It is very important that the mirrors Siakantaris uses are small, irregular and many. The use of bigger mirrors (also fragments) has been propagated by artists Like Anselm Reyle or Michelangelo Pistoletto to name just two. Reyle uses them to create a dynamic aesthetic discrepancy between art ideals and practical decoration, whereas Pistoletto strives to blur the difference between imagery and beholder, the latter becoming part of the former. In some of Siakantaris' installations, however, the same effect is achieved in a different way. In al all-over-structure of a large number of mirrors the beholder also melts into the environment, but yet there is an important difference: This environment is a multi-faceted and interlaced space, changing with every step we take and every move we make, creating a special kind of multi-dimensionality. This broadens vision and understanding of the pre-conditions of perception and aesthetics likewise. We move in more than one space: Firstly in the physical, built space, and secondly in the consecution of visual, virtual spaces provided (if only partly) by the mirrors, fractional spaces which we complete inside our minds. "