"...The cultural interest which legalizes our attention to her art, is the structured
internal vision, which succeeds in balancing between the clearness of reading
(interpreting) the objects and the spaces and the intervention of a restrained
(moderate) expressionism which excludes underlying concessions to the impressing of
Dimitris Haritos 1996Art Critic "...Touliatou being especially sensitive to color, manages through it to emphasize the right atmosphere of her works, because here the color / light is emitted and at the same time absorbed, it radiates and simultaneously penetrates both the natural element and environment in order to signal essentially an idiomatically meant metaphysical atmosphere..."more.. Dr.Dora Iliopoulou- Rogan 2000 Historian of Art, Art Critic
INTERNAL DRAWING ACTIVITIES
Where are the colors given to a painter from? How is his (her) color vision and
the dowry of the color gained? Are they coming from his (her) internal world, to
speak most simply, or from the effects and options of the outside world?Often the
distinction is almost impossible. Sometimes, however, some revealing evidence
bring to light the proof of an internal gestation which harmonises perfectly the
chromatic with the artistic ‘métier’, so that the constitution of the drawing vision
of that particular artist will be served, that is to say spaces, objects, forms, plastic
values, whatever is going to make up her own personal mythology both aesthetically
and ontologically. In such cases it is useless to search for obvious influences or
affinities. The internal, usually long-lasting, preparation has absorbed them all or it
has selectively reject them in unsuspected time, long before the artist transfers them to
Obviously, this is the case of Kerassia Touliatou. After a successful service in
hagiography (portable icon and fresco) she takes the decision to dedicate herself
exclusively to the ‘cosmic’ painting. To ‘see’ and interpret – her own way and with
her own possibilities- the really existing world this time, the landed one, and to paint
the icon of her inner martyrology. It was an absolute cutting off from her painting
past. Besides this turn constitutes a sample of the genuineness of her art.
Without doubt, this painting is dominated by the dramatic intensities, which
however are not materialized in the thematic mythology but in the ways and in
the implementation. Besides, the subjects of Touliatou are a few, landscapes, dead
natures and internal spaces. All of them well-known during the long report of painting
through centuries. However in this case, the artistic interest that also legalizes our
attention in this, is the constituted internal sight that achieves to balance between
the clarity of reading the objects and spaces and the intervention of a retained
expressionism that prevents creeping concessions to the virtuosic impressiveness.
The elegiac stillness is the rule that prevails in her art. The nature that surrounds
the objects is still, that is to say a static ‘dead nature’, a situation that is attributed
remarkably with the ... of the chromatic choices, tones and semitones of the dark
colours, the brown ones and the scale of the grey ones up to the black. Seldom, as it
happens in those excellent pomegranates, discreet, optimistic chromatic ‘passages’
surprise the eye of the spectator. Simultaneously, however, one can not fail to notice
that everything, the two fruits, their leaves, the clouds go away –and it does not
only happen in this drawing- to a parallel movement of a wind flow to the right. It is
certainly an internal escape.
Common characteristic point of all the drawings is that the dramatic thickening of
colors has ‘absorbed’ -one could think- the light, leaving an equal remaining, as it
happens in that ‘landscape’ based on an excellent inspiration and implementation,
representing a table on the beach with a white tablecloth on it, from where the
painted light is emitted (or probably settled down?) dull leaving the sense of an
existential sorrow. The same interesting version we face in the empty and deserted
internal spaces, sunk in the same always shadings from where an unexpected source
of clear light comes up towards the corner from the lower spaces.
One cannot accept that all these painting behaviours are accidental. The atmosphere
reminding Kafka which is dominant - and despite the obviously conscious absence
of human figure- characterizes the interesting internal origin and treatment of a
vision which does not exhaust its ambitions in a formal figurative look, herald of any
standardisation or ‘maniera’. On the contrary, in this painting exists promise.
DIMITRIS HARITOS, Art Critic
THE ATMOSPHERIC PAINTING OF K. TOULIATOU
...With devotion, love and modesty Kerassia Touliatou portrayed dead natures and
internal spaces from the very beginning already of her career.
Touliatou being especially sensitive to color, manages through it to emphasize
the right atmosphere of her works, because here the color / light is emitted and at
the same time absorbed, it radiates and simultaneously penetrates both the natural
element and the environment in order to signal essentially an idiomatically meant
metaphysical atmosphere .
Colour/light that constitutes the conjunctive ring between the creations of Touliatou
meant as a whole... And this happens, because through it, the artist knows how to
present and to create every object depicted in her dead natures or in any characteristic
corners of her internal spaces.
Recently she paints landscapes seen through the eyes of her soul. And this happens,
because -although descriptively- these landscapes are released from each disturbing
element that could undermine the right atmosphere of the space.
An atmosphere orchestrated through the eyes of the painter’s soul which knows
how to isolate, to feel and to live every exclusive and authentic element irritating
creatively her imagination and her mentality. And through a ‘golden section’ these
landscapes being between the ‘immediate’ of the descriptiveness and the submission
that practises the peculiarly meant abstraction, communicate immediately with us
since they do not ‘nail’ our imagination with ‘epidermic’, sterile, tedious for the eye,
First-seen and at the same time intimate these landscapes, that could correspond
with a lot of places simultaneously, reconstruct inside us associations, memories,
recollections causing durable per year impressions.
Touliatou, being an authentic artist, is at this time in the creative start of new fertile
phase, which is dominated by eminently creative-poetic metaphysical subjects.
Dr.Dora Iliopoulou- Rogan Historian of Art, Art Critic