In the 1970’s a second generation of the "Astronauts" came out. This was archetypal in conception and identical to the first. However, this time it was enriched with variants in style and posture, in the established proportions between the body, wings and head and above all, in the value given to detail. In this new phase of application to this theme, his investigation evolved towards slender, undulating forms with corrugated

surfaces. While being fixed to smooth orthogonal volumes, it provoked highly sophisticated solutions through subtlety and strong contrasts of material. At the same time he was renewing his human image he also turned his attention back to certain previous occasional thematic interests — such as the bird. He also displayed unexpected concerns when we think in terms of a sculptor. Concerns which eventually resulted in the "Plants" series.

Plant, 1972. Welded and polished stainless steel, 86 x 30 x 26 cm. Artist’s col., São Paulo.

The world of vegetals brought him suggestions of exploitation which hitherto coincided with his icons. Instead of the closed volumes there now appeared entanglements of linear forms which precipitated into space. The participation of the texture of the relief, which had previously been less important, took on a much greater role in the global definition of the image. Flora, in strong opposition to the human figure and the animal, had never really attracted much attention of sculptors. Nonetheless, it is possible to identify a few examples within contemporary art. In fact, sculptors had rather preferred to place their work alongside vegetation in order to stress the contrasts between their work and the world of vegetals. At a certain moment during the 1970’s, Vlavianos, the sculptor of the human figure, faced the challenge of work that would transfigure the intricate and luxurious tropical nature. The contemplation of the idea to adopt nature as his model for a new experience until actually taking the decision ran through many years of his life in Brazil. The result which he obtained elaborating small pieces of work in stainless steel was the result of an inspection which only became possible with his permanent instigation of the environment. These results were created through complicated joints of tubes with varying diameters, linked to beaten, welded plates through which wires were threaded. The search for floral abundance, including the silent and savage battles between the species, constituted a rich art form within the sculptures. Here there was evidence of a tremendous and sui generis contribution to modern sculpture.

More recently, however, the "Plants" have begun to exist in another context by taking advantage of the forms and materials introduced in the second generation of the "Astronauts". How can we best define these uneasy forms of undulating outlines and bends in which, as in the "Birds", describe the wandering trajectories, without, at the same time, creating an incompatibility within the arranged geometric planes. From the use of the human figure, the idea has been transfered to the representation of the reality of vegetation. Drawing on his methods of recruiting diverse textures, he applied his vermiculation to smooth surfaces built into pure hollow geometric planes. Undoubtedly, the artist managed to stress the germinative elements of nature while at the same time his interest decreased for the final stages. There were also other solutions which were proposed by the sculptor. There were cut-out forms or segments with taut wires of steel or brass which produced a strange union both sumptuous and dramatic.

Bird-plant, 1976. Welded and polished stainless steel, 43 x 98 x 9 cm, Col. Rebeca Papautsky, São Paulo.

The theme of the flying bird which he developed in simple volumes, had already received the same solutions since before the new series of "Plants". At a given moment, he suddenly discovered that these two natural worlds could be condensed into just one. To this symbiosis, which is a complex symbolism of life, was given the name "Planta-pássaro" ("Bird-plant"): "The plant or the bird or man are the manifestations of the same, unique vital force."

Other angles of Vlavianos deserve more detailed observation. The inclusion of the déchet became more frequent according to different circumstances. However, the growing search for technical rigour forced him to leave nothing to the will of chance. Although normally his sculptures have the natural colour of metal, it has not been a rare occurrence for his work to be covered in paint, thus heralding a return to past principles. Besides several commissioned monumental public pieces such as: the panel at the Confederação dos Trabalhadores na Indústria (Confederation of Industrial Workers) in Brasília, a sculpture in painted iron placed in the old quarter in the centre of São Paulo and a panel of modulated planes in repoussé on the Jorge Rizkallah Jorge building also in São Paulo, which was titled Progress — he has not diminished in any way his studio activities. He has dedicated himself to pieces of smaller dimensions and has also produced multiple series (in fact, pieces which were resolved individually) — all of which have continually contributed to the renewal of his language.

Panel 1977. Stainless steel on iron structure, c. 24 m2. Jorge Rizkallah Jorge Building, São Paulo.

As we have seen, parallel to the human figure which he researched into a synthesis of primitive and modern existential concepts — something in which he preserved an enigmatic quality together with an aura of well humoured wisdom — Vlavianos extended his concerns to the representation of the forms of nature. He also took into consideration the intimate connections of the living species. A further concept that he has developed is the universe of modern man "integrated by the forms and forces of the authentic nature and also by the forms and forces of artificial nature".

A man of great personality, friendly, controversial and ductile; he has always been obstinate in reaching his aims and objectives. He has never given up his intentions since he imposed them on himself in Paris more than twenty years ago. Here in Brazil he has merely strengthened them despite the great sense of isolation he initially found, on arrival here. He has always firmly maintained the aesthetic foundations of his message. Sporadically we have seen him interested in the theory of the phenomenon of conceptual art and even taking part in ‘happenings’. But his attitude towards art has always been definitive. He has been faithful to craftsmanship, revealed himself an extremely active militant in the participation of configuring twentieth century sculpture which has been the essential language in the characterization of contemporary art, whose true importance has probably not yet reached total awareness.

Nicolas Vlavianos’ pathway, which has consisted of various phases entrenched with naturalness, has brought with it an incontestable contribution to sculpture in his adopted country. The work he has produced certainly deserves appreciation and recognition from international circles; an area in which he rarely works. He has completely engaged himself in attaining his work in São Paulo.