Traditionally, the teaching of art develops around the so-called formal elements, i.e. the line, the shape, the volume, the colour, the pattern, the texture. A value system that in nature can be observed everywhere in a microscopic, immense, discoverable, symmetrical, repetitive, organic way. In an elevated way, often difficult to express, as seen in the history and theory of sublime1.

Myrogianni's photographs return to this timeless state, the outing to the natural landscape. They attribute the notion of observation as experienced by the human body to its evolutionarily natural condition. There, the landscape alternates with the movement of the body and the observer chooses to look or be led to close details, to the distant horizon, or where human intervention occurs with incomplete constructions, building materials, and construction sites. Repetitive patterns and diverse textures that serve biological purposes and respond to the changes of the seasons, give a timeless lesson of aesthetics and senses that makes us wonder again about the relationship between the two. Our existence there reminds us of nature as the majestic and fragile system to which we always belong.

Maria Georgoula

1 The theory of sublime art was put forward by Edmund Burke in A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful published in 1757. He defined the sublime as an artistic effect productive of the strongest emotion the mind is capable of feeling. (From Tate’s lexicon of Art Terms)