Giorgos Spiridonov used to be our Technical Assistant, a function he still holds, but its rather diminutive to call him that any longer. He used to be one of us, of the Organization in the Symposiums of the Greek Marble Initiative, but now he is also a sculptor, but not only that. He is a sculptor who found himself here, before our eyes.
Based on an excellent understanding of the material, of stone, of marble, and a vast experience and deep knowledge of the mechanical tools used to chisel marble, he evolved under the influence of great masters we accommodated in our symposium, from all over the world. Jhon Gogaberishvili, Giorgie Cpajak, Edward Fleming, Kamen Tanev are some of the exceptional people influenced the young man.
Starting off his journey in creation he copied a Cycladic art head. This is an actual finding, situated in the National Archaeological Museum in Athens, re-created into yellow softstone. The next piece is a mighty panther, lying down. Though this is also a copy, we observed a tendency towards abstraction, as several figurative elements are missing on purpose. “The column” is a dive into the comprehension of modern art; more abstraction is evident while no figurative elements are pursued. As the artist Giorgos Spiridonov confessed to us it is a depiction of the spiritual elements of the universe as they transform into various energies. “The machine” series depicted as various gears was the result of a process of creating an environment of elements. One can find gears in every corner or place all around the field where the symposium is taking place. Geometry gained on the vital place the abstraction left in his creations. A huge human head, straying in style into the borderline between the Easter Islands giants and the Soviet era political monuments, bearing an influence mark of Georgie Cpajak with whom the young technician has being working along for sometime. It is a solid, vigorous, though somewhat wounded by time and elements of the Nature head, made in a quite banged stone. The archaic figure does not constitute a backward movement for Giorgos Spiridonov, but it is rather a first glimpse of his forthcoming choices.
Now Spiridonov works in complete series he wishes to create. The obscure figures he creates now seem objects found in an archaeological excavation. Merging features found in Ancient Cyprus sculpture with Greek characteristics and a flair of far east dead empires as the Sumerians were, he wishes to put together the classic Mediterranean civilizations, to create new forms: his very own.