CM: With faith in an art around the principles of ancient Greece, with aesthetic tension and sociopolitical character, Vangelis Dimitreas creates works with credible form and free from ideological engagements. Dimitreas' art does not translate an idea or concept, but is a product of the subconscious and is the artist's vision of the world, which is his basic starting point. This vision of the world, which is not only personal, but also social and to some extent conscious of class, is reflected in the design, the material and the texture. Essential for Dimitreas is an art that c hallenges the incumbent aesthetic of beautification, which is shallow and false, and to some extent the overturns it. His works reveal contradictions by being simultaneously hard and sensitive. As opposed to mainstream art Dimitreas seeks to juxtapose contradictions without any attempt to harmonize them.
The work of Dimitreas entitled Based On A Head expresse s a harsh visual language as barbaric gesture. For the time it was created (1989) it had to a certainly a quality of barbarism, but appealed to liberal viewers. The impetus for the present work was an ancient dramatic head and an unspecified element beside it. The aim for Dimitreas is not an exact reproduction, but mimesis as broadly defined by Aristotle. The visual ly fertile mind reproduces, transforms and subtracts, but does not copy. Dimitreas represents by minimizing the reference. The material approach of the subject turns against an incumbent aesthetic. The artist seeks the form's credibility, one that may correspond to its content. He must discover with courage the sharpness of that, which he wants to express. He is after an immediate and crude manner in wording. He takes care to do away with any reference. Thus, herewith has prevailed the effort to find the acidity and crudeness of pictorial language.
By experimenting with materials, Dimitreas is interested in the clash of shapes and textures. He includes volume in order to depart from the brush as sole solution. First and foremost he limits his palette to ostracize colors. Such economy betrays his conquest of color. Dimitreas makes such choices out of his experience of color. The specific nature of this work is guaranteed by its plastic formation. This work's value is 'morfostructural' - building beyond the surface. In essence Dimitreas transforms the drawing by means of the voluminous element - a found plastic material originally intended for recycling. The board on which it rests facilitates the transition from the drawing to the volume. He shapes the plastic volume with slashes in order to approximate the drawing. Upon careful observation the grooves of the volume correspond to the drawing's lines.