Georgios Bouzianis

Dimitris Deligiannis, Bouzianis, Athens, 1996, pp. 124 & 287, no. 109, illustrated
 

George Mourelos compared Bouzianis' highly intense and colourful artistic output to music: '[Bouzianis'] work is dominated by the human 'landscape', the human face and human body, through which he expresses the tragedy of human fate, which in reality is life itself. His painting space acquires an organic completeness. He creates such a relationship between figures and depth, that depth appears the extention of each figure, so that one has the impression of colours in continuous motion, which come and go from surface to depth and vice versa – something that gives each motif an inner vibration. Colours vibrate in their full scale, while each work expresses an incomparable painted orchestration, where every colour mass advances towards the depth of the picture and creates its own inner melody, awakening all the harmonious sounds that accompany it. The painting of Bouzianis is basically painted music, where each chromatic tone penetrates the other ones, thus creating an unbreakable unity. Bouzianis – as he himself used to say – had the ability to 'hear' colours and find the right tone when tuning his instrument. This is evident also in the way he contrasts cool and warm colours, as for instance blue and green, which he particularly likes, with pink and ochre, thus creating his own combinations. Blue usually functions as an inner sky, out of which emerge quite often the corporeal phantoms that are Bouzianis' figures' (George Mourelos, 1977 exh. cat.,  pp. 31-32).