The painter, with the easel in front of him and all the tools of his trade beside him, gazes ahead at the landscape he is about to paint. Here, however, the landscape exists as a historical event rather than a state of the natural environment. The traces of history that exist as texts (written or oral or simply held in memory) and the images that form a part of them are the points that G. Hadjimichalis interprets to create a work that’s mostly a painting, reformulating the concept of historical and landscape painting.
Kyrillos Sarris
Ai Dimitris ta Selina, 2000, acrylic on cardboard, private collection
The landscape, 1988, photograph, National Museum of Contemporary Art