The artist Constantinos Taliotis breaks down the stereotype of the alleged fight among the heterogeneous narratives and leads colors and geometry to the memory’s eternity.
Is the immortalisation of a particular subject a passage to “eternity” or is it simply an extension to this subject’s life?
In my works I am interested in touching on and reviving historical moments that have been consciously or unconsciously omitted from the collective cultural memory and their interaction with their timeliness as well as our timeliness. Thematically, I move between pop culture and subcultures, two manifestations of civilisation that are ephemeral and (largely) undocumented. Monumentalizing the moments from popular culture that inform my works is not the purpose; rather, I seek to question the mechanisms that create hegemonic and monumental narratives. I am interested in heterogeneous and diverse elements and in the coexistence of narratives, not in their hierarchy. Therefore, I would prefer that the dilemma “pantheon of history” or “respirator” remains a dilemma.
”I feel like I keep pulling out rather than searching for roots.-Constantinos Taliotis
The intense colours and the geometry of your work could inspire an atmosphere of monumental serenity, a timeless tranquillity.
Is this valid?
The conventional monumental language is usually characterised by austerity, geometry, masculinity and rationalism. In Miami I maintain some of these parameters, like the geometry of the sculpture. At the same time, I paint it all – the model and the base – bright pink. The choice of pink has to do with the history of this colour and its stereotyped symbolisms, which usually connote femininity and lightness. In this way, there are two opposing, yet intersecting platitudes in Miami. Having as a background the blue sky, the project raises questions about the naivety through which we produce and reproduce clichés in the process of constructing the history of our culture. Indeed, the work emits a monumental serenity, one that coexists with the disturbance of its monumentality.
Coming back to our roots constitutes the first move to redefine ourselves
It’s been a long time since I’ve lost my roots and that was a hard thing for me to do. I never seek the beginning and the authentic. I’m shaped by varied influences: the video cassette, radio, world football, Scandinavian noir, modern architecture, even my granny’s soups. I feel like I keep pulling out rather than searching for roots. And this is what I want to keep doing, by defining and redefining myself not through an excavation of my origin, but through an expansive research that will recast and dethrone the ego.