“Haris Gavrilos is the great unknown,” painter Ilias Papailiakis comments on his friend and fellow artist, who sadly passed away young at the age of 38. And he adds that “his painting reveals times and places that only he saw and showed us.”

The reason for the following text – a personal view of the world of the creator, who left his mark on Greek art, despite his short life – is the exhibition “Arcadia”. Works by Gavrilos since 1977 are presented – works in pencil or charcoal on paper, large-scale paintings, as well as sketches from his student work at ASCT, sketches and scribbles, and videos from personal archival materials. The exhibition reveals the world of a dynamic, young and talented artist. The name “Arcadia” is ambiguous: it is a reminder of the artist’s birthplace, as well as a reference to the poetic Arcadia, the fabulous space where he was transported during the creation of his work. The exhibition lacks signatures with names and dates, as well as technical information about the works. This choice of art historian and curator of OPANDA exhibitions and events, Cristoforo Marino, creates a sense of intimacy for the visitor, avoiding the formal nature of the retrospective.

Lonely, confident and fragile

Ilias Papaelakis

We walk around the exhibition, and it’s like meeting with him. Today, when we walk through the Art Gallery, we are in the studio of Haris Gavrilos and observe his work. Sketches, scribbles with written notes – somewhere we read “trying to find a balance in space through different times” – pencil or charcoal works on paper and large-format paintings.

A special place among them is the last work he painted, as well as a half-hour video taken from archival materials showing how he talks, works and defends his positions in his studio. Thanks to the care and interest of his sister, Konstantinas Gavrilou, an outstanding art restorer, through this personal archival material, we trace the endless play of time with her younger brother.

The main question raised by the exhibition is how the personality of a particular artist is structured so that it is expressed and translated into visual language. The viewer is impressed by observing the stages of a short – less than twenty years – the creative path of Haris Gavrilos. From rough drawings it leads us to dense surfaces, from solid meanings it takes steps into the void, and from a look into the depths it moves to a plateau.

Everything is light. Haris Gavrilos methodically builds his painting proposal and substantiates the uniqueness of the act of painting with each of his works. His idiomatic language, gradually maturing into language, tells us about the asymmetry and multiplicity of the moment, as it is formed and stabilized in connection with the experience of the artist and (and) with the experiences of others, which the artist carries.

Haris Gavrilos is the central representative of the 80s generation in our country. For me, he remains the only representative of this generation. He is on his own. His work thoughtfully progresses, mutates and unfolds, revealing breadth of scope, soulful content and creative intelligence. He writes and inscribes, erases, leaves traces, interprets himself and represents him, at the same time expanding him and disappearing. His painting reveals times and places that only he saw and showed us. Self-assured and fragile, it adds dramatic material where matter cannot stand, and removes matter when its surface tires.

I understood his work much better when I heard him say that he was looking for his place in relation to the picture he paints, and looking for himself behind the box. Being behind the frame allows him to successfully complete so many and such large paintings in such a short time. All projects presented at the exhibition were completed on time.

Haris Gavrilos is the great unknown. His pictorial language has no precedent in Greek painting, although we rightly attribute it to the 80s. His work has not yet been studied and given the importance it deserves. I am sure that the exhibition at the Art Gallery of the Municipality of Athens will be a springboard for further recognition and recognition of the artist. Today, however, with great joy I can see an unexpected and secret similarity with the work of younger artists (Alexandra Stresna, Konstantinos Jotis, Andreas Kasapis, etc.).

Haris Gavrilos died unexpectedly at the age of 38. He created feverishly, and his work shines through time. He was very handsome.

“Arcadia”, exhibition by the artist Haris Gavrilos (1957-1995) at the Municipal Art Gallery of Athens (Avdis Square). Until September 25th.