T h e   "e s s e n t i a l i s m"   o f   V l a v i a n o s                 Marc Berkowits
Rio de Janeiro, 1986

There is a refreshing and renovating breeze blowing through the stuffy, stagnant atmosphere of Brazilian art. I am not referring here to the (vain) efforts that

have gone into transforming expressionism and other ‘isms’ within the avant-garde. Nor am I referring to movements such as the "80’s Generation" which almost drowned certain true talents in a sea of mediocrity. Formed by "artists" who had barely appeared, to have already sunk into oblivion. Those who survive are certainly artists with personality, ones who do not follow fashion but rather create their own personal languages. These artists do not create merely to please the critics or the art dealers. It is of these artists that I now speak — of those that stay and grow. Just like Nicolas Vlavianos.

Vlavianos is Greek and a sculptor — what a responsibility! A responsibility, however, which he has always been aware of. Throughout many years I have always noted — with admiration — the independence and personality of his work. He chose his path and followed it faithfully and relentlessly, without concessions and always with total earnestness.

Vlavianos seems to have been incurably attracted to the shine of steel, and to the eventual colour of certain elements. But it is not of the golden shine of over polished bronze that I speak; the shine which apparently ‘enriches’ the environment and the pockets of art dealers. He opted for an art which appeared both severe and unassuming, for the occasional shine and coldness of polished steel and aluminum. It is not, however, the unassumingness of constructivism, of minimal art. The sterness is always relieved by elements which are occasionally baroque and playful; by kinetic interference and even by ‘pop’ influences and a certain sense of humour. In other words, as time went by, Nicolas Vlavianos has developed his own personal style. A style which has made his work instantly recognisable, even from afar.

During the last few years Vlavianos’ work has undergone a process of purification. There has been an elimination of certain exuberant or even baroque aspects, until his arrival at the ‘essentialism’ (I wonder if I have invented a word here?) of the 1985 sculpture model in matt and polished aluminum. The road which Vlavianos has trod is not the same as Sérgio Camargo’s, Franz Weissmann’s, Sérvulo Esmeraldo’s. All these artists present a final product. And no matter the material, and the use, or not, of colour there is always a finish in their work that never illustrates the process which went into creating it. Nicolas Vlavianos frequently insists on showing this process through the integration of screws and bolts and other images which result in a piece of his work. One way or another, the onlooker participates in the process without, at the same time, causing any form of demystification. The independence of Vlavianos’ creativity and thought is exemplified by his attitude towards figures and the abstract. At times we observe figurative elements, clouds and trees; at other times they completely disappear. And does it matter? Because there is always the independent presence, both free and original, of a sculptor who totally dominates his form of expression and who has freed himself from all restrictions.

Marc Berkowitz
Rio de Janeiro, 1986