Critique
1994 - Memory retains the impressions

Memory retains vividly the impressions made by his work on its first appearance in 1979 at the Kochlias Gallery, and later at the Panselinos in 1985. It was then those calligraphically rendered pebbles, gleaming in their whiteness, and behind them the protective warm shadow of a plank. And later some objects or nostalgic corners with the warmth of porphyry, in an atmosphere of traditional memory.
Today, after so many years, Flessas's work, transformed and vital, causes surprise; because although it retains the link of calligraphic expression, it nevertheless seems to come close to technology and the result of electronic media. The artist himself confirms that he works with a brush and egg.
Characteristic features of his work are: the tension and contrast of the pure colours on large and smaller surfaces; 'still lifes' and 'nudes'; blinding nudes with that strange red light, as if welling up through the flesh. Then there is that imposing monochrome blue, on the body, on the face, on the hair, which is reminiscent of the insistence of an Yves Klein or even of a Matissian blue austerity. And finally there is the feeling of a concern which wishes to keep the picture undefiled, at all costs, in plexiglass.
As I left, the precision of the subject-matter, the colour tension and that phosphorescence of the nude bodies have followed me. Modern realism? Perhaps. But the renewal of style and the confirmation of standards are ageless.

Sophia Kazazi
Art critic
MAKEDONIA April 1994