Critique
1987 - Nikitas Flessas

On top of an Ionic column capital sits a nude girl in a reverie. The sea serves as the cool background. The diffused light remains discreet, more unreal. Other nude women and men pose in similar stances and positions and all are like a simple feature of the environment, like a part of a 'still life'. The case of Nikitas Flessas in interesting from the point of view of the nature of the painting itself, but also from that of style. He paints with egg and tempera, an ancient technique, known both from the portraits of Fayum and, even more, from Byzantine and post-Byzantine icons. This technique, used to produce masterpieces of the early Renaissance, does not permit diffusions of the paint. And for this reason the design possesses acuity, the outlines are stable and, generally, great clarity prevails in the rendering of the motifs. Flessas has mastered this technique to perfection and makes marvellous use of it.
From the point of view of style, this painter is on the cusp between a conscious and a naive treatment of the world, and it is precisely this mentality that constitutes an exceptional advantage in the formulation of his subjects. He lends them an unreal, almost metaphysical touch. Flessas, who is reminiscent of Bost in his crystalline expression, has spontaneous capabilities which he has cultivated in the passage of time, in which he has shown evolution and real progress. His technique has been perfected, but his artistic approach has been broadened and has taken on poetic extrapolations.

Stelios Lydakis
Professor of the History of Art – Art Critic
VRADYNI 2 February 1987