It’s the finish of January and we’re strolling on his land, undigging piles of fabric, excavating works and elements of works from the chilly soil, compost parts far and wide amidst his important assortment of tractors, automobiles designed within the 40s and go as much as the 90s; ‘all working.’

Maya Tounta is there taking photographs and enjoying the metallophone. We went collectively.

It’s a vibrant sunny day in Nikaia, whereas in every single place else is hit by a nasty snowstorm.

My second encounter with Thanassis Totsikas is interrupted by fifteen years. The primary time was not removed from his house, sitting on a desk across the corpse of a slaughtered goat, ‘killed particularly for us’.

When one tends towards him, issues flip sacrificial.

An existence cut up between the city and the bucolic, deep into the psychology of the materiality of life, his work is basically coping with domesticity and the transformation of power, the temper, the spirit into kind, edifice, dwelling.

There’s something elemental concerning the particular person and what he makes. Issues can really feel cavey or from the distant future.

He loves fireplace, enjoying with it, melting and welding metals, considering of buildings, the right way to make them, the right way to restore them, a sort of fixer belonging to the previous world.

He crafts the wind, the sunshine and the sound issues create after they contact. Philosophical playtime.

Although he’s (not) modern.

Effectively established contained in the soil have been a gaggle of metallic tubes, in degrading pearl Miami automobile tans, lots of them; and rusted.

Then we went again into the concrete home, the place his self-made engines await and he made knives for us and blades, to guard us from all risks; they did.

Fluo shades blended with rust and marble, clay and wooden, decomposing egg shells, orange peels and soil are his index. And fireplace, and breath and the sunshine they make; man in nature, man and nature, holding fingers. An index made from steel, sound, fireplace and spirit.

The dangerous spirits must be saved away. The sound of fuchsia and the sound of yellow, steel on steel, ship them removed from the home.

Once you meet somebody like him and so they sound as if the top is close by, a requiem they are saying, and a bit of marble seems with their identify on. You surprise.

“It’s not a tombstone, it’s a bit of marble with my identify on.”

An adolescent within the physique of Pan.

Is Pan a youngster?

He sits on his mattress inside his shelter constituted of marble and earth surrounded by a yellow tule, ashes and countless drawings. A ruler of some faraway kingdom, portray flowers day-after-day, monitoring the climate and different phenomena.

Arriving again to Athens, by means of a tunnel of white, what was left was the sound, the mirror, the fluorescent and the steel. The heat of the flames our talismans nonetheless contained.

His buried flutes have been cleaned.

They stand upwards ready so that you can use them. Every one sings otherwise, just like the shells from the ocean, by no means a similar sound.

His leather-based coat is coated with mud, and his tender tops adorned with knives and sharp blades.

The area between dwelling and never dwelling may be very small, the knife reminds us.

Highly effective and scared, we’re cut up between our exterior and our indoor lives.

at Rodeo Piraeus, Piraeus
till September 24, 2022

Supply hyperlink