OUR Annita Calimeri with her new painting – a mixture of realism and fantasy – she makes a public gesture. Nude female bodies, the subject of her work, acquire strength and individuality, become flags of dignity and move from the private to the public sphere, intuitively and obviously, direct and suggestive. OUR exhibition titled “Irreconcilable” he lands in a whirlwind, just as bodies, skeletal, muscular, flabby, also whirl in the void of space. IN art gallery “Genesis” Created by Giorgos Tsaneris and curated by Kostas Prapoglu, Annita Kalimera excels in her subject matter, technique and focus. The realism of Annita Calimeri will surprise those who know her path in recent years. Her previous solo exhibitions have emphasized abstract, geometric, psychedelic expression. Her appeal to representationalism, in terms of anthropocentrism, testifies to her astuteness in design and color treatment, but certainly also to the contribution she made to the study and implementation of new techniques. Curator Kostas Prapoglu points out precisely this “importance of artistic skill and the absolute necessity to convey the true essence of existence through color and technique.” Annita Calimeri’s Women’s Bodies is a philosophical study. “I admire the relationship a woman has with her body,” she says. “Her relationship with her body image. He follows her from youth to inevitable old age. We often feel the need to apologize for this image, both to ourselves and to others. I am amazed by the complexity of the harmonious coexistence of a woman with her own image.

Before her works, the visitor of the exhibition feels exactly this emancipation of bodies. Without a sense of retribution, women’s bodies float in space. Painstaking processing of color gives depth and tactility. The color of the pulp is the most sensual pink. The movements of bodies are movements of self-awareness, acceptance, symbiosis. There is a mixture of social humanism and individual rights.

But behind the theoretical expansion of the subject, the works of Annita Calimeri are overflowing with good painting. I stand firmly in the geometry of bodies, in the language of movements and in universal sensibility, in the aura of choreography emanating from the invisible core. There, in this core, light consumes the universe.