THE BOTTOM AS PARADISE
The friendly, humid glance of painter Angelos Razis embraces here the things. We, are embraced by the friend.
Months of labour and isolation have been preceded, in an village at Evia where he uses to go the past few years, however he would say more about the vegetable garden, the lemon trees and the lopping, than his work.
Last autumn he started showing me something: marbles onto flooring, fabric shoes, a slipper, photographs and other small objects we usually do not see, yet they are there waiting for us, as internal statues that gave birth to time.
Angelos always painted internal spaces. An internal statue, a bottom. This time, however, he litteraly reached the bottom.
The friend took a big plunge into himself. And we all know that if you sink into yourself , you do not meet yourself, but everybody else, you meet the total, the nothing, the image that from it's gold we all spring and to it's gold we continuously swim. Nobody appears anywhere. However, in the small objects of this painting and its flooring, the human presence has a splendid intensity. The intensity of an eternity, the intensity of the light without wave.
And where does this light come from? From the next door precisely. This door that Angelos had the providence to leave half open for years.
Into this light - under-"beside" - he fell asleep little child and this light since then travels with him wherever he stands, wherever he sleeps. Into these rays throws us again Razis. He bends with the labour of a countryman and hears the light.
Does so much love deserve us I wonder?
The answer undertook to give us himself, with the girls of his glance: Twenty beautiful, so much beautiful, new paintings! I wish him good luck.
ANGELOS RAZIS: THE LUMINOUS IMMOBILITY OF THINGS
All the heat, all the warmth of internal spaces that from their open windows leave the light to shape them depending on the hour, is transported in a series of oils and two silk-screen printings that Angelos Razis presents in Gallery "Synchroni Charaktiki", 9 Charitos str.
The immobility of things that is found in the islander rooms is disturbed only by the aggressiveness of light. The reference of Vermeer in one of the paintings is not accidental. On the contrary, it shows that Angelos Razis has perhaps made long-lasting study in the technique of Flemish schools and particularly on the work of the big Dutch painter of the 19th century.
Of course, his own style was differentiated because of his mediterranean idiosyncrasy that deviates in sensitizing other points of the picture from those that refer in the northern climate.
Particularly sensitised regarding a poetic approach of his stimulus and in the way he experiences it is the work of Angelos Razis (Gallery "Synchroni Charaktiki", 9 Charitos str.). Pre-eminently has the painter felt the light either in its brightest essence or through the peculiar shadings in the internals he paints, the same as through the mirages of the sea, the glimmers of the moon on a window. Razis composes through the light: Light that, of course, he means it as colour. Still, he holds a great faculty for composition argued through the original optical corner with which he sees his space. In many of his creations we point out the mood of a painter who is substantially moved from the inwardness - distinctiveness of a space, in order to pass it pure on the spectator.
Vima, March 1982
With an idiomatic poetic sense has Angelos Razis created his works. In his internals, but also in his externals - his landscapes - he nails our look "potentially" on to that element that constitutes the main component of the ambience that inspired the creator himself. A common table, any single object, an unmade bed is appeared the way the artist has seen and exploit it, with the substance of an especial uniqueness.
In the familiar of forms and pictures refers the exhibition of Angelos Razis, whom the fundamental demand is the quality. Familiar also from past exhibitions in which he always occupies himself with the same subject - internals- he confirms in his current presence (Athens Art Gallery) the development of a research that does not want to be ambitious itself, but that turns out to be ambitious because of the virtues that emerge from the process.
If only someone sees the folds of a sheet or the details of a blanket's border or the decoration of a pot. A dense, extremely painting vocabulary, old as much as the truth, new as everything that doesn't innovates.
However, it would be "unfair" to remain in the objects and the furnitures of the interior, much as they moved us, without mentioning the extending of a good painter over the space through an open window with view.
And here the values are old written with the property of an artist. Renaissance references that are cut by vertical "walls" or "doors" that build the painting with clear materials which meditate clearly in the relation of in-out. And we do not only mean the relation as for the space, but the one that concerns the means and the content of the artist - person.
An unmade bed, an ajar door . Precisely as you see in the photograph! Perhaps, just a few moments ago someone was here. Now, though, the objects are alone, without the human presence, abandoned in the game of light and shade and seen from within, against the light that enters the window. With warm hues, nostalgic but blurred, as the past and the memories usually are. With this poetic mood paints Angelos Razis internal spaces! And his work - twenty paintings of medium size, made from vinyl matterials and oil - are exposed these days at "Athens Art Gallery".
Of the newer creators, remarkable is also the dialogue of light, plastic levels and space as it is formulated in the work of Angelos Razis, who exposes these days at "Athens Art Gallery". He is an important realism painter, that from the way with which he records the optical reality, creates a surrealistic ambience full of allusive relations, typical are the balances in the plans, the way of distribution of light and reflections, as well as the subcutaneous semantic charge of the objects that he chooses to express. Surface in the depth, internal and exterior space are interlinked with instructive functional factor the rays of light, in these aspects of the subjective daily routine.
The painting realism has a lot of faces. Besides, it has been compared with the mythical Hydra, which put out many heads when one was cut. Depiction of the concrete, therefore, of the tangible and the experienced, the realised, realism runs through the entire art and there are times that it constitutes its sovereign face. To us, here, something similar happened twice after the war: with the social reflections realists (i.e. Mpotsoglou, Psychopedis e.t.c.) and with those who sought after the "affiliation of the objective reality",that is to say the French "nouveau realisme".
In the first case we usually have representation plausible and with enacting acidity, in the second identical three-dimentional objects that want to transmit to us differently the directness of modern reality - remember the "Walls" by Kessanlis or Kaniaris.
And just when we had almost got used to the presence of all the other - except for realism - tendencies of the recent decade, here they are, some exhibitions gather our interest in a beam of realistic voices. In Angelos Razis (Athens Art Gallery), to begin with, who, even being older, now claims a serious place in the area with this exhibition. Internal spaces, undone beds, time stopped at the persistent impression of a moment. Into E. Hopper's tradition, Razis leads to a poetic side of realism and he is very persuasive.
LANDSCAPES OF THE SOUL
Always the same landscape, always the same familiar space. The light of the day and of the afternoon. The same picture transformed by the light and colours, from the change of seasons. The painter Angelos Razis doesn't need to change his coverage, but, on the contrary, insistently pays his attention on those spaces where he lives. In his country house in Evia, with the open windows facing the sea, and the empty rooms, with the deliberate absence of forms, that cannot overcome the illusion of human absence. These irreproachable surrealisticaly painted works are distinguished for their relation with the Flemish painting and the work of the great American painter Edward Hopper.
Do not stand, however, at their plain "iconic" content, but try to feel the deeper problems expressed by these works: the time, the space and the human absence or presence.