Inner light in his works Nectary Mamai it gives an aura of holiness, almost sacramental. His work in individual report from to Athens Art Gallery, in the Reservoir, tell the story of light and the allegory of flowers in flowing compositions on the border between dream and landscape. Nectarios Mamais invited us to experience a deep inner painting, on the verge of secular iconography, with landscapes of spiritual depth that resemble horizons, valleys, plateaus, meadows and mountain peaks. If someone sees the work of Nectariy Mamais, he will notice the effort put into it. In his landscapes, worked to perfection, there are moments reminiscent of the work of post-impressionists. The darkest ones, with thick darkness, delicately embroidered with light spots, belong to varieties of expressionism. With a different approach, Nectarios Mamais continues his reading of the Greek timeless landscape, following the open questions bequeathed by the generation of the interwar period. He is the builder of the world, the founder and creator.

His own world includes silence as a fundamental condition, and with these silent impulses he recreates a series of floating questions, both existential and aesthetic. At the exhibition (until Saturday, April 1) Nektariy Mamais tries to carry on this conversation in a state of complete detachment. He has no answer, as he himself says, why he paints: “I have no answers, other than how the process (…) the adventure of materials leads me (…) there comes a moment when you say that I can’ do nothing else. This is a moment of redemption that gives you the strength to carry on. At the moment, it is determined only by the time of writing the work and is given to you only when you coordinate your own time with it. This philosophical substantiation of the painting of time is driven by Nektarios Mamais. His works convey a certain atmosphere, perhaps what the art historian Giorgos Mylonas says about the rejection of the multicolor nature and the reorganization of visual data. This creates perhaps a subjective naturalism.

Manos Stefanidis has a beautiful definition of the artist’s paintings: “These are impressions of inner vibrations, like the cosmo-planetary landscapes of Yiannis Spyropoulos, where they contain everything and are not specifically mentioned anywhere. Like holy scriptures that there is no point in reading.”