A-n-ICON or The feedback of Cognive Experience
Soaring above any analysis of Nature-as-a- Whole is a vision of the object, the shadow of a mystic inner struggle and a silent attitude that leaves the visible counterpart of the photographic target free to emerge.
The experiment consists in the projection onto a white surface of an evolving magnification, using all the components of plenitude in relation to measurement (lines - dimensions), weight (tone - grain) and quality (colour) through chemical receptors. The carefully controlled decreasing grain size creates an automatic focus which, under the ineluctable (cause and effect) laws of dimension, acquires maximum depth and perspective, the result of the underlying artistic conception.
Quickening the experiment, which exploits the rapid-dip method, are power and responsibility. The analytical result is a photographic point free on e very side, protozoic nucleus of the recoupling of a specimen of life through active artistic forces.
The proposed free-drawn curves outflank the "Photography towards Painting" theory containing all the cognitive codes of history, culture, science and the senses.
This elliptical trajectory thus develops the purpose of the work, where the object itself, no longer of any importance, is suppressed. The dance of perfect imitation borrows from nature, functions according to the laws of economics and in relation
to physical form-initial image: using the technique of omission, it composes an associative new reduced "geometrical"proposition -NO ANSWER IS ALSO AN ANSWER - defining Photography within Aniconic Art.
Georgios S. Gekas (Art critic)