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Diamantis Stagidis
I was born in 1959 in Drama and live in Kavala, a city of northern Greece.
As far as I remember myself, I like painting. I have never watched any artschool course about painting. For this reason, I consider myself self –taught. I assume that Caravaggio, Velasquez and Rembrand are my teachers. I studied a lot about the theory and history of art.
During my childhood I used to copy the classic painters in order to learn how to paint. I had been provided with books of art which I studied continuously. That period I was influenced by Dali and Magritte. I created my first compositions with surrealism and symbolism.
From 1985 I have started to make my first attempts on abstract compositions.
My works are exhibited rarely in several topical group exhibitions.
In 2000, felling lost, I decided to follow the basic instructions of experienced wayfarers who consult that, as soon as you feel that you have been lost, the wisest action is to follow your footsteps backwards until you find yourself in known places.
Thus therefore, I started to travel back to the constant values of the grandmasters. I studied deeply the work of Leonardo Da Vinci, Michaelangelo, Caravaggio, Paulo Uccelo, Piero de la Francesca, attempting to captivate the ineffable merit of the work of the big figures of art. I was trying to arrest the quintessence of painting.
I tried to use sand and glue in order to create a surface on canvas emphasising the colours and lines with this rough texture.
The station of this route is my painting “Did Rembrand knows Altamira?” , an artwork which is belonged in a private collection. Looking at this painting, someone could see the " "Night patrol" of Rembrand painted on a rock surface of a cave, someone else could see an abstract painting with many colors here and there that luckily resulted in that classic piece of art (as, according to the theory of chaos, a chimpanzee pressing randomly the keyboard of a typewriter has the possibility to write Shakespeare ) some other could see a detrited cave painting of Altamira, which when Rembrand faced it with its mat colors, he painted his classical work.
Although my artwork is appeared abstract, nothing is random, except the wet colour, the lines dances composing abstract figures reminding the viewers familiar scenes moving at the edge between the remembrance and oblivion.
Therefore, the real meaning of the art is what cannot be said, the ineffability.
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