ALEXANDER 2000

…Warlamis with this work is at once profoundly Greek and indisputably a ‘‘citizen of the world’’ and does not fear dialogue or provocation. The choice of this particular theme is a lesson in morphological and conceptual renewal of the “heritage” of antiquity. The impression that the viewer gets, however, is of a contemporary artistic expression, which constructively dialogues with both the past and the present and proposes solutions that undoubtedly constitute a milestone both in the iconography of Alexander the Great and in the history of twentieth-century art in general.

…it is the experiment of an artist, at the end of this century of “the unbridledness of art” and ultimately at the end of a millennium, to create a work, a work, with which he takes stock and focuses, summarizes and merges everything that has long since irrevocably and visibly declined, individualized in the consciousness of all of us. Certainly, no one goes the wrong way by attributing “therapeutic” intentions to the artist, in this report. A self-criticism with historical reflection, an animation of cultic qualities from art, as impressive and penetrating, as the Chinese wall newspapers, in the cultural revolution or the sacred stories with images in the churches of Medieval Europe, which conveyed to the illiterate the knowledge of the world…

Warlamis created a most impressive testimony to the depth and breadth of his study of Alexander. His paintings and sculptures are clearly the product of sustained reflection upon the character of this extraordinary individual and constitute a unique meditation upon his life and achievements. His technical and expressive range speaks to his own restless and volatile nature, and skillfully suggests the power, depth and ultimate impenetrability of his personality. It also vigorously evokes the countless mutations in his legend over the two and a half millennia since his death and illuminates his continuing power to capture the modern imagination. In Warlamis art Alexander lives again.