The double cherry is a popular motif in many cultures. In Japan it is a symbol of self-discovery, self-realization and purity. In general, it stands for allure and attractiveness and is often accepted as a symbol of sexual activity and freedom. The drops of water, which are often shown on the cherries as a sign of special freshness, are here above and seem to fly by. The cherry on the right still appears fresh, the large, bright reflective area here is a motorcycle helmet visor. In this combination, one thinks of a motorcycle with an assessor and suddenly the picture takes on a touch of 'vintage' look.
The picture is from the Emephere Dialect series that was exhibited in Düsseldorf, Cologne and Berlin.
Image size 50 X 56 cm
High quality gallery print 10 signed copies
Delivery time 2-3 weeks
Lakis Mouratidis, Volos, Greece
Lakis Mouratidis was born in 1950 in Drama (Northern Greece) and found painting only late. He has a degree in surveying and is known in his home country for your political work. He has often painted for the 40 ° Urban Art Festival in Düsseldorf and has since successfully exported the festival to Greece. His works often make use of surreal elements, which for him are the ideal form of expression. For his works he also often uses the very large canvases such as walls and house facades and thus strives for a direct 'dialogue' with people.
For me painting as a reason and as an action concerns 'the deep persistence of the colours' which determine exactly the boundaries of the endogenic expression of the conscious and unconscious, the illusory but mainly my fortuitous sensorium.
This 'chromatic persistence' reveals how much I revolve as a unit and how the existing and oncoming world do the same within or beyond gravitation.
The lingual dialects create "perception" while they are multiplied and float around until they are assimilated by the major language or until they vanish completely due to uselessness.
The ephemeral dialects, though, as formulated cosmic theories until today whereas they use unblushingly the same sense with different meanings so as for the insignificant to become significant and vise versa, are struggling perpetually until they acquire the sense of creativity.
With a surrealistic disposition in my painting the people, the senses, the situations, the objects are trapped in the footprint of an idea where they change roles of action and thought adopting others-probably new ones so as to acquire conscience of the feasible. This is the way I equate my paintings to the perception I have for "being".