To paint love requires openness and courage. To paint a love that allows itself requires life experience. To experience a state of faith, love, and hope. St. Augustine writes, “I do not speak because I can, but because I cannot remain silent.”
The paintings on display feature a certain sacred majesty and a human aspiration to understand its essence in a whole whose bearing axis turns out to be two symbols seen from the inside: the medieval basilica as the ideal form of worldview and grain fields symbolizing growing bread.


I Let Love In II

Colosseum

I Let Love In I

Preparation

Red Planet I

The theoretical basis of the exhibition rests on Maurice Merleau-Ponty’s ideas about different kind of “spatiality” (as opposed to “geometric” space), which he called “anthropological” as well as “existential space”, and which state that “there are as many spaces as there are distinct spatial experiences”.
The premise, therefore, is the isomorphism of space and being (consciousness), spaces are formed in the individual mind and perception. Likewise, the space becoming an image possesses the innate “reality” of an “inner space”. The “space of the painting” is where the subjective being – experience and consciousness – acquires its inherent form of substance and space. Lastly, the painted space represents the intersection of the subjective and objective, projection of “inner space” into “external space” (and vice versa).


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Marta Stratskas

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