Texts - Reiviews
About the section "Into the Light"
The works of Amalia Ferentinou touch the fullness of an integrated world. Incarnators of this vision become the forms of trees.
The trees shown here as images and axes of the world, expressing the deeper symbolism (the tree as imago mundi and axis mundi). By unifying constituent elements the are connecting the underground, the earthly and the heavenly world.
The source of inspiration for these compositions comes from the artist's favorite island, Chios. The few trees in the arid landscape were erected in front of her like a silent, live stunts at twilight.
Internally lived nature pictures were transformed in an artistic creation, trees were transformed into symbols. Firmly rooted in the depths of the earth derive their vitality fertilized water and grow into the pulse of the atmosphere, providing access to solar power.
In the colored paintings, where the first and most optimistic turn of this section is shown, the trees are monumental presences. Drawing strength from hanging roots consist of concentrated light that radiates the energy of golden and red.
Once the trees tend to be released from the bonds of earth and annihilate in a union with the infinite. However, their roots remain in full stability in soil.
This embrace of robust and airy, compactness and liquidity is formatted visually through materials chosen by the gifted artist. Her desire for an instant color effect, and the delicate transparency of watercolor, led to the choice of this material. At the same time, the need to process more color in details and gradients led her to the use of fixed texture pencils over watercolor.
In the second group of paintings, compositions become black and white. Now the trees grow while their rhythm spread in space. The expressive dynamism of lines is accentuated by the color asceticism. The dramatic collisions of light and shade to the skies with vibrant clouds carry us into "landscapes of the soul." The clouds are reflections such as roots and leaves of trees, presenting the mutual reflection of the sky and the earth world. In black and white works dry pastels dominate. Creating a matiera pliable and fairly stable simultaneously. Remembering Jean Clair, who notes in his book "Reflections on the state of the visual arts": "The great gift of pastels is that it is simultaneously row and stain, etching and coating, shape and color. It removes the distance between the line and the surface, between the pattern and color."
In the last works the tree reappears colored in black and white landscape. By taking advantage of the third dimension and the magical atmosphere of the sense of the game these works introduce us to new worlds. The small coloured trees you discover inside the grey have the immediacy of childhood. They are like the hidden treasures of knowledge and truth, keeping the key to return to the heavenly state.
About the section "Rising"
Atmospheric, like her previous visual art compositions, the current projects of Amalia Ferentinou implicate not only in the "Rising", as in their general title, but even in itself, an "excess".
Pierced projects from a real but ineffable aura communicate in more than one wavelength, with the viewer. Enabling creative imagination especially encouraging to go its own wheels or painter lodge an inexhaustible in potential associations.
The ethereal youthful female figure in a poetically orchestrated escape from the stated in latency from the earthly to the heavenly, in short, from the physical to the metaphysical, is one the most of "poetic"-with its dual meaning benchmark but yet Mian endless not only visual but also psychologically ennoimeni baseline sharpen our imagination and our creative instinct. Or better active on alertness last: unique safety valve opposite to hibernation in which immerses us daily greedy, cruel up athropoktona technocratic society.
Indeed Ferentinou manages through the hypersensitive artistic temperament to create a doubly poetic work. This is because, apart from the creative-artistic poetic writing, the way the worthy artist understands, orchestrates the "image" through a charismatic perspective and an inexhaustible variations in tones, color submit as effectively as possible the poetic dimensions of impulses of the artist.
With a base nature, trees, all kinds of plants, the Ferentinou our suspicions, as it becomes more creative in the "metaphysical" concept of coexistence with other planets, but filled with latent energy areas. Areas indicate the passage from matter to intangible substance itself of supreme energy set and defined by the universe.
Sometimes through soft tones and sometimes through dynamic color contrasts the painter fails to submit our associations with this cosmogony itself. But mostly manages something very difficult: to show us that spirit and matter are merely two different sides one and the same supreme truth. Of that truth which is identified with the supreme energy that defines the universe. Submitting us exactly this "virtual" identity, the Ferentinou fully meets the Platonic definition for authentic art: that to be authentic must submit an "Idea" and not be an imitation.
This is exactly the idea of ..supreme power our shows as possible-art-the artist through the poetic-artistic work. Work perfectly as Ferentinou staff has all the necessary skills to resist the sirens of each fraudulent trains.
Dr. Art historian-art critic
Officier des Arts et Lettres