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We live in the age of digital reproduction where the absence of “truth” in an image is taken for granted, since every image may be modified and changed and each one of us may either be “deleted” or become part of history. Still, hasn’t modifying and tampering with both the image and reality always been an essential part of the artistic process? Besides, when has art ever been known for its reliability?

With the advent of photography, people attempted to capture the image of the real world, but without success. Although not a product of the imagination – as a painted image may well be – a photograph cannot in the end present reality. And this because the photographer will depict only part of the truth, while at the same time each viewer “reads”, or interprets the image based on his or her own personal assumptions.

The drawings featured in this book have been created with the purpose of allowing multiple personal readings to emerge. And if we ask ourselves, yet once more, whether an objective reality does indeed exist, then Yiorgos Tserionis seems to belong to those who view subjectivity as the sole perspective that is typical of human nature. The artist does not endorse the notion of objectivity with regard to the real, but rather speaks of a multitude of realities; of a host of different personal truths. And despite the fact that as human beings we see the world by means of our common sense of sight, we cannot claim to be seeing the same things when looking; because, quite simply, each one of us turns their gaze on different aspects of reality and focuses on those aspects that concern them the most. The result being that each incident may entail an infinite number of different readings or interpretations. As Antonio Tabucchi claims in Il Gioco del Rovescio (The Game of Reversal), “…a thing that is ‘this way’ is simultaneously another way as well and all can start from the beginning from a different point of view, in exactly the same way that all can be written from the start…” and in exactly the same way that all can be interpreted anew. In a similar way Tserionis is interested in the multitude of perspectives from which his work may be understood and interpreted; in the sense that each viewer takes as a starting point his or her own experiences and uses his or her own perceptive ability as a vehicle for interpreting this work.

His drawings intensify this process of evaluating an image since each one of them contains in essence a large number of fragmentary and often “incongruous” images. Nevertheless, even a state of incongruity may ultimately give rise to creative associations. His drawings make up a collection of splinters of the world that seem to function as notes for different scenarios. The artist takes the image’s disintegration as a starting point from which to embark upon recomposing its narrative structure, while the viewer is called upon to draw connections between disparate elements that bear no direct relation to one another, and to do so in the same subjective way in which each one of us interprets the events of life.

Through deconstructive processes, Tserionis creates short micro-narratives. He does not impose a single narrative, but seeks new instances of balance that are linked with the image’s various functions of signification, thus creating multiple meaning and a variety of private narratives that bring post-structuralism to mind and Roland Barthes’ view according to which meaning is never fixed but is continually challenged and completed within society.

The way in which the artist develops his drawings tells of his investigations into the potential inherent in the fragmentary image and the use of the collage. His works, although at first sight resembling instances of collage, they are in fact unified drawings. The process of deconstruction has already taken place, but the fragments of images he has selected have been drawn anew as a unified whole.


Tserionis’ drawings reshape associations, tell stories and reveal situations, pointing to the impossibility of consolidating and securing a certain stance and undermining the image’s authority. His drawings are determined by the kind of content that is each time ascribed to them. Furthermore, the artist examines the ways in which images are “constructed” in our minds. What he proposes are not whole and complete visual representations, but rather a series of fragmentary and fleeting glances, like the images one sees when switching television channels or when passing by advertising posters in a car. His works reflect the aesthetics of “zapping” and of billboards, through which an interesting poetics ultimately emerges: a radical poetic scheme that is far removed from the traditional aesthetics of collage. Nevertheless, the artist does not propose the invention of a new way of approaching and knowing the world that might be based on a re-constructive shaping of reality. He rather opens new windows for the gaze to look out from through a variety of participatory yet decidedly personal processes.
Daphne Vitali

from the series 'Creating gaps in hapiness

2008
COLOURED PENCILS ,ACRYLIC ON BOARD
70x70cm

from the series 'Creating gaps in hapiness

2008
WOOD
70X60X90CM

2008
according to space

2008
COULOURED PENCILS ,ACRYLIC ON BOARD
70x70

2008
COULOURED PENCILS ,ACRYLIC ON BOARD
70X70CM

Where am i?

2008
COLOURED PENCILS ,ACRYLIC ON BOARD
50x50

2008
oil on canvas
170x170cm

2008
oil on canvas
170x170cm

2008
oil on canvas
120x120cm

2008
COULOURED PENCILS ,ACRYLIC ON BOARD
29x21cm

2008
COULOURED PENCILS ,ACRYLIC ON BOARD
29x21cm

2008
oil on canvas
120x100cm

2008
COLOURED PENCILS ,ACRYLIC ON BOARD
72x72cm

wunderkammer

2009
mixed media
variable