During the last decade the emphasis has been shifted from the narrow prospect of morphological analysis to the social dimension of existence. The younger painters do not just rely on the fact that they are good craftsmen of the canvas and the recognition of their poetic gadfly is not enough for them. Integrated in the applications and possibilities of the information technologies are seeking to find the most suitable position for them.
Dionisis Christofilogiannis not by chance touches the reflections of a world society that changes radically and leaves rapidly behind the experiences and the way of life of our parents. Rammed in the reflections of online art with social face he focuses in moments of individuality and public behavior. His images are dynamic. Each painting gives the impression of a frozen snapshot of an amateur video immersed in gray. Each painting is like a public statement on terrorism, surveillance of the citizens, rappers, minorities, sexuality and loneliness.
Christofilogiannis belongs to a generation of painters that was kneaded with the virtual reality and accentuated its conscience contemplating in the possibilities of the Information Societies. A huge appetite for action and exploration prompts him to make a series of painted images of social reflection for public consumption and correspondence. On his canvas, sentiment, ethics, justice and metaphysics they engage and redistribute the environment of humans and digital machines. He knows that conflict games bring new persons in the limelight with new tactics that they do not leave any more a lot of space to the distress of Cezzane, the personal art of Picasso, in Rauschenberg’s experimental, in the frozen art of Warhol, in the provocative art of Jeff Koons.
Even the most recent art looks exceptionally distant. From a psychological point of view the painting of Christofilogiannis reflects the psychology of a generation of painters which they do not confirm their existence through old standards and neither simply paint in order to give aesthetic enjoyment. Being permanently connected with the phenomena of Information Technology Market are motivated via the painted image in order to determine the consequences emerging from the management of information in each one of us individually and in the relationships among the people. Through this prism, each painting of Christofilogiannis constitutes a reliable picture of social experience, an optical comment to the new model of life in which while the technology creates virtual bridges of communication between people, makes them at the same time schizophrenically individualists.
Art does not play any more with the structure of the picture because the artists play with the structures of the Information Technology Market. Finally, let’s consider that the new images differ so much from the old ones because they ceased to imply and the artist stopped to confess. In the new images the objective observation has replaced the personal hint and the scientific interpretation has replaced the individual illusions. Christofilogiannis answers with a series of works that records the dreary version of this era through genuine stories and real events in order to raise a voice of alert: Al1 = ALONE.
If the internet and the television replaced the painters of Renaissance in inflating the importance of an event against the society, the paintings of Christofilogiannis highlight the voids of cable narration. His painting does not create a tattoo in the social reality. He seeks to exorcise the atonal human loneliness through the unanticipated experience that is found in the streets. Atonal is the loneliness that does not smell the reality. Atonal is the loneliness of info-communication. The selective episodes that he painted as well as the texts that describe them may not modify the real images however Christofilogiannis threw the seed of doubt in theatonia of the information. ///// text: Yannis Kolokotronis