The piece Afterlife, which was an opportunity for Dionisis Christofilogiannis to redefine himself as an artist. The artwork utilizes a sculpture of the ancient Greek Kouros of Volomandras and “a primitive funeral ritual toward the end of life, using the purifying elements of fire and sea”. “The Kouros is denatured and transcribed at the same time, both as the signifier and the signified.” The lace, a material that is definitive of the artist’s work, is placed over the Kouros like a shroud and works as a metaphor of the negative while it burns and turns from white to black. Pieces of it are removed by combustion while others are kept as a velvety skin on the Kouros’ body.

What the artist wanted to highlight is the removal of shapes and pure forms, leaving the body worn, damaged, and burnt. The “regeneration” of the sculpture and its burning, is something that “described the now, and cannot be repeated anymore” Dr. Christofilogiannis says, alluring to Wassily Kandinsky’s The Spiritual in Art.


The abdionisis-christofilogiannis_afterlife6andoned mould of the Volamandra Kouros, located in the deserted kapodistrian Eynardion building, once again comes to life producing the work of Dionisis Christofilogiannis. It follows a process of analysis, interpretation, redefinition and positioning of the self in the “signal” of the Now, a process that simulates the deathly rituals and though these, as well as through primordial purification processes that entail going through fire and water. In the hands and mind of Christofilogiannis this replica is the archetypal great dead.  . (…excerpt I Dedes text)

Dionisis Christofilogiannis’s kouros, also a symbol of death, was lucky to have been sculpteddionisis-christofilogiannis_afterlife7 anew, to have been reborn patterned after the Volomandra Kouros, adorned with love and care, surrendered to the cathartic fire by the sea. (…excerpt V.Zefki text)

The trace of the Other, which is also a trace of a negative, the carving of a loss, what is ultimately an optical illusion, a floric of the image, a coating, what is left of it. The body of the Kouros becomes in the work of Christofilogiannis a reflexive object. Within the enflaming of its metonymies it also traces its truth. Carvings that are brought upon by desire and now surround him in its difference. The burning lace only leaves its counter-relief traces upon the body that is under trial. A body that is burning up, this enflammement in its stare, a now disembodied figure, a perforated surface. Carvings then, cracks, corrugations of meaning, illustrated traces, only these; the traces of the Other. (…excerpt Apostolis Artinos text). more …

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