FEATS OF AGILITY
Giorgos Tserionis

In a period of time that the old economical, political and social systems are under collapse, the same existence of the person as a subjectivity that is historically composed through it's participation in the collective, is questionable. The individual, in his attempt to define the constants which signify his proceeding and constract his social identity, confronts the total destabilization and volatility of his mental and psychical strain with the loss and the cancellation of his expectations, ending up to a rupture with the social and historical components that specify his being.
With references to the concurrent sociopolitical conditions, Giorgos Tserionis' artistic work is occasioned by the human situation itself – the oppression, the wretchedness and the shattering of the subject – and features the necessity of moral realign through an inverted procedure than the usual one. Initially, we must listen carefully the outside, the conspicuous perishable points of human nature, rather than reform our inner world and reinvent the dimension of the collective which resides in the human subjectivity.
Giorgos Tserionis, through the use of various demonstrative implements, such as drawings, sculptures, videos and processed photographic material, contsructs the image of a corrupted society, a microcosm as if it were a ruin, of which the handling emerges as the most indispensable need. The imperfections that characterise the anthropomorphous drawings and sculptures, the diformity and the lack as symbols of intellectual but also physical violence which we come up against, through their repetition they reveal an obsession with the piecemeal, with that which is defined as defective, reflecting that way, the adhesion to remembrance and history as a shelter from the current conditions that suffocate us. At this point, the symbolic, narrative caper, that the artist has staged, starts to unfold. Sometimes, through the form of the leader of a pointless utopia and some other times, with the conscious interventions and the artistic references which reveal again those that over time has covered, the ruin itself, constitutes for the artist a principal point of reference but also the indication of the end, of the aim that wreaths the artistic expression. The ruin, here, is not interpreted as what is left from a destruction but much more it reflects a deed of courage since it's recognition and acceptance constitutes the condition for the spiritual rebuilding and reconstitution of human life.
Based on the multiplicity and difference as these become obvious through fragmentary and heterogeneous particulars which coexist and constitutes together, Giorgos Tserionis' artistic work, he reminds us the essence of human condition, the possibility of sublimation of social observation in action. The moment that we recognise the existence of the subject as a unit in an order of things that is falling into pieces, an order that defines us while simulatneously is defined by us, at the same time we comprise a common sense of reality which enforces our capability of rebuilding ourselves socially through new deeds.
In George Tserionis' artistic work, judgement is expressed as a choice to the human, a turn to the collective through the course and the retrospection of the “Ego”. Besides, man's ability to mount things comes from the fact that man himself constitutes a principle, from his property as an inception of nature.1

Myrto Katsimicha, Art Curator