Fascinated with nature, Kiaris paintings reflect ecological themes that relate to the earth, sea and the seasons.  His work has an energy emitted through his use of unique combinations of vibrant tone and color.  His brushstrokes dance on the canvas in a coordinated choreography. There is an absolute balance among the rhythmic marks of color on his canvas.  Just as in nature there is an unexpected pleasure while viewing his works as one is surprised as to what lies beneath the visual images in color.

Kiaris relationship with nature is deeply personal.  His respect for and personal connection with nature is an extension of his self.  His paintings are a visual allegory for the connection when one learns to live in, love, and respect the earth and all it must offer.

Complex patterns of the unmistakable color segments of Kiaris, his artistic fair of years of harmonic combination, now sinuous, now circular, now unpredictable.  Overlapping layers of color that create a sense of perspective and volume

Kiaris has often used jute, a material he particularly appreciates that knows of poverty and tradition – sacks for olives, for example, are and were made in southern Italy with jute – It does not allow for errors, it immediately soaks the pigment and allows any necessary corrections, with great labor.  As usual, on starts with nature, the primordial element which unravels the flow of emotions that the artist can brilliantly arouse by controlling form and color.

In Fiore Nascosto, it is easy to distinguish, among the green eaves of a tree, bush or hedge, the red of the petals, while in Luce Disordinata, the golden signs, like the sun’s rays, make us think about its strength and heat as if we could feel it, as with other allusive titles, La Fiaba or Infinite Apparenze.  So, to fully understand Giorgio Kiaris 

Rome 1968

Fascinated with nature, Kiaris paintings reflect ecological themes that relate to the earth, sea and the seasons.  His work has an energy emitted through his use of unique combinations of vibrant tone and color.  His brushstrokes dance on the canvas in a coordinated choreography. There is an absolute balance among the rhythmic marks of color on his canvas.  Just as in nature there is an unexpected pleasure while viewing his works as one is surprised as to what lies beneath the visual images in color.

Kiaris relationship with nature is deeply personal.  His respect for and personal connection with nature is an extension of his self.  His paintings are a visual allegory for the connection when one learns to live in, love, and respect the earth and all it must offer.

Complex patterns of the unmistakable color segments of Kiaris, his artistic fair of years of harmonic combination, now sinuous, now circular, now unpredictable.  Overlapping layers of color that create a sense of perspective and volume

Kiaris has often used jute, a material he particularly appreciates that knows of poverty and tradition – sacks for olives, for example, are and were made in southern Italy with jute – It does not allow for errors, it immediately soaks the pigment and allows any necessary corrections, with great labor.  As usual, on starts with nature, the primordial element which unravels the flow of emotions that the artist can brilliantly arouse by controlling form and color.

In Fiore Nascosto, it is easy to distinguish, among the green eaves of a tree, bush or hedge, the red of the petals, while in Luce Disordinata, the golden signs, like the sun’s rays, make us think about its strength and heat as if we could feel it, as with other allusive titles, La Fiaba or Infinite Apparenze.  So, to fully understand the work of Kiaris, the bond between color and words becomes crucial.

The magical relationship between though and its expression, it is no wonder the new series is named “Cromografia.”

Giorgio Kiaris: a romantic with feelings and with the impulses of the heart, but a classic with the precision and calculated study of the composition.  And again: realism and abstraction, for an artist who with tenacity, courage and liveliness knows how to overcome the dichotomies, flying free without restrictions. The bridge that acts as a liaison among the opposed is the small segment of color, the small precious item, which creates the foundation of an enchanted universe and charmer, not too distant from what is beautiful and good in our world.

Painting Without Borders

By Giorgio Kiaris

When I started painting Cromografie (Chromographies) I felt a bit lost, as without any reference points, but satisfied by the novelty.

Interdisciplinary, critical and especially objective development, open to everything, persuaded me to find every way of the journey and it let me know the way I was drawing.

As a Shakespearean tragedy’s character, I came on stage and went out to perform a quite palpable tale, taking an exam that gave me a prominence. It’s like being on stage under floodlights: you are the leading actor, you perceive to be watched, but you are not actually able to see it.

All this trip was not so easy, but these works of nature and the passing time since their first Epihany, made my task easier and more intrigant, as for all things with a primordial spirit.

In my opinion, sunrise is more interesting than sunset, but when sunset describes transition or change, our mind meets unknown, where only ourselves can find an explanation in a thought at first and then an action.

So, as usual in various phases of my quest, I thought it was necessary to write what was driving me on this journey, bringing me to that unknown that I like so much.

It’s not so easy to explain the sensation that painting has shown me.  Sometimes it’s limited to explain things in this way, but writing down which possibility drove you to this course can help to reveal much more feedback that gave you the right energy to face the issue and the ideas that gave you that energy.

In this case writing enriches comprehension in different ways, all connected, bringing us to a convergent point I usually call “space of thoughts around us.”

This is a singular occasion to find a rationality which sometimes could slip out of our mind, conquering a loose of restraints that belong to that part of us we don’t want to control.

Painting is the contrary of writing and lets me be rid of this condition and then finding measures and scanning of concepts, without which I couldn’t stay.

I can’t hide, I felt lost, without the reference points, the same that our convictions prevent us to see ‘beyond’, because we concentrate on a sort of exterior vision and we are always induced to simplify each solution only because it’s far from our conception.

The sensation is the same you have when you realize or the first time you are crossing the borders, there is a limit over which you definitively realize you are going into the unknown.

I was entering a bit at a time, into the work by layers, that are the same that superimposed on each other gave me the layout of a map, which stretched beyond the painted surface.

The confusion soon brought me to the keystone of the ‘problem’, that certainly was not caused by works but caused by my visual virginity.  This perception was building in me the structures and the alphabet of the ‘new’ language, as when a bird flies for the first time, at the beginning it feels uncertain, without balance, but once in flight it must continue.

Cromografie brought me to that early stage, the exact content of a Nature at dawn of being, as a volcano that after eruption modifies everything around it.

A fluid magna will solidify in a new nature which will overlap with that one existing before.

Time will always influence a new and restored perception, because passed time between fruition and memory will always be different.  In this case I think about sensations caused by an eclipse, they are certainly exciting images but they are different for everyone even if the experience is the same.

When you watch the Sun for a moment you are dazzled.  Things you look at later gain a new vision changing in time little by little, but they keep the same casting, as if a screen was between you and the infinity.

At this point I can finally say “find” myself, now that I can see beyond the apparent uniformly discontinuous layer of the color, I can also search for reasons that persuaded myself to go to the totality of the pictorial space unreally defined by borders of the painting.

In this case the square size better develops this escape, reducing in a centrifugal way borders’ extension beyond painting itself. 

Cromografie are tightly linked to “natural” events and then to sensations that painting returns through ecological theme such as:  Earth, the Sea and even the Seasons.  Almost as a restored will of values often trampled by a progress suing to erase everything.  Sometimes it seems to me to paint as I sow color waiting for springing it up the following spring, finding that cyclicity I like and which always stands as everything in nature.