"...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 skill..."
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Dimitris Haritos 1996
Art 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..."
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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 canvas. 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.
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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, descriptions. 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.
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Dr.Dora Iliopoulou- Rogan
Historian of Art, Art Critic