SERGIS
«METAMORPHOSIS, 2»
CYPRUS HOUSE OF CULTURE
CYPRUS EMBASSY ATHENS
OPENING 12.9.2022 / UNTIL 7.10.2022
I had two exhibitions planned for 2022. COVID-19 appeared to be under control, and people appeared to be eager to attend events. My mother sadly died in February, and during her funeral, an incident with an elderly guy, Maurice Kahn, occurred. Maurice Kahn, a retired art professor from the University of Jerusalem, a friend of my father's from their university days in South Africa, wanted to scatter his late wife's ashes alongside my mother's, a tribute to their longstanding friendship.
Maurice had relocated to Cyprus from Jerusalem following the death of his wife. After my mother died, he became a key presence in my life. Following my May exhibition "Reconstruction of Our Moral Values," I sought Maurice's guidance for my next project, "Metamorphosis 2," which was based on shattered glass negative plates.
With his broad art knowledge, Maurice helped me to disconnect from the historical background and concentrate on balanced compositions. This mentorship had a significant impact on my paintings, introducing pointillism and abstracting references and ushering in a new chapter in my artistic path.
Maurice Kahn in 2022
Speech by Maurice Kahn.
A second phase of the "Metamorphosis" project is presented in this exhibition by the South-African-born, Cypriot artist Sergis Adamos.
The triptych "Paphos Souls," which got awarded at the 2018 Larnaca Biennale, provided a visual explanation of Sergis' use of the original material derived from the decayed, water-damaged negative plates of the famous Cypriot photographer Spyros Haritou 1901-1991, which served as an introduction to the exhibition as well as documenting the archive.
These negatives, which the artists use as raw material, provide an insight into Sergis’ future direction and are clearly evident here. There are two different yet related aspects of imagery.
The bulk of the work here is a group of works where Adamos has eliminated, and in one case completely removed, the moisture-damaged textures on the periphery of the negatives, focusing solely on figurative elements, randomly superimposed on each other. These superimpositions are almost imperceptible unless the works are studied carefully. Then, and only then, will one become aware of singular, dual, and multiple clothed abstracted figures.
One cannot fail to be impressed by Sergis’ remarkable talent. Employing the last 25 years of digital technology, Adamos has accumulated many skills. His ability to introduce what best can be described as "new pointillism" recalls Seurat for one. Additionally, in the lighting one sense Vermeer's presence, chiaroscuri like that of Rembrandt, compositions similar to Cezanne's, textures employed by Gustav Klimt, and emotions akin to Van Gogh. I know Adamos was totally unaware of such similarities. It occurred naturally and spontaneously, as so often it does with creative artists' vision at play. Taking all of this into consideration, this is a remarkable exhibition and a stepping stone toward exposure on an international platform.
Professor Maurice Kahn
Bezalel Academy of Arts and Design, Jerusalem
In 2021, I had already begun experimenting with collection creation thanks to the NFT technology. For example, I observed patterns of vanishing faces on one scanned image of two independent glass negative plates stuck together, which original image I had already displayed in my first exhibition back in 2019. One of the plates clearly depicts a group of friends standing for an event in the early twentieth century. Their figures could not be seen clearly due to the state in which the plates were discovered.
The almost-vanishing images excite me; the entire project "Metamorphosis" is based on them, and even the archive was discovered on its vanishing steps. Recovering souls from the brink of extinction and translating them into contemporary digital art is a fascinating experience worth investigating.
I was astounded by what I discovered when I began isolating and expanding each portrait. All of them had distinctive distractions and distinct physical remains; we must remember the other plate's image and how the two integrate with each other.
Slowly, slowly, I modified the first image, then the second, and three years later, I was finally able to "rescue" all 40 of them. "Almost Vanished Friends" was the name given to the collection.
Almost Vanished Friends
Under the mentorship of Maurice Kahn during this period, the art produced from the glass plates began to truly resonate. I embarked on a new journey, setting aside historical constraints and sentimental ties to the images — some of which may depict relatives — and focused solely on composition.
A new collection has emerged, titled 'Strangers Forever'. This collection focuses on the intricate details at the point where two plates collide, uniting two random characters or more, and providing a vast canvas for creativity. It is an ongoing series, divided into sections, each featuring 10 artworks.
Strangers Forever
I showcased "Strangers Forever" at my exhibition in Athens in September 2022, with 10 of the pieces on display for visitors to see. This collection consists of artworks created from a damaged glass negative plate archive discovered abandoned in poor condition. Originally created by Spyros Haritou 1901-1991, in Paphos, Cyprus, the archive dates back to the early 1900s. In the digital age, reviving historical plates and bringing them to life through art is truly powerful. The first 19 pieces from the collection are available for viewing below. Follow me on X (Sergis_Adamos) for updates and announcements.
Metamorphosis 1/1
By rejecting the limitations of traditional categorization, these pieces of art emerge as testaments to uniqueness. They are the lone travelers, celebrating their uniqueness and resisting any appearance of similarity.
