native land Painting

We live in the age of digital reproduction where the absence of truth in an image is taken for granted, since every image may be modified and changed and each one of us may either be deleted or become part of history. Still, hasnt modifying and tampering with both the image and reality always been an essential part of the artistic process? Besides, when has art ever been known for its reliability? With the advent of photography, people attempted to capture the image of the real world, but without success. Although not a product of the imagination as a painted image may well be a photograph cannot in the end present reality. And this because the photographer will depict only part of the truth, while at the same time each viewer reads, or interprets the image based on his or her own personal assumptions. The drawings featured in this book have been created with the purpose of allowing multiple personal readings to emerge. And if we ask ourselves, yet once more, whether an objective reality does indeed exist, then Yiorgos Tserionis seems to belong to those who view subjectivity as the sole perspective that is typical of human nature. The artist does not endorse the notion of objectivity with regard to the real, but rather speaks of a multitude of realities; of a host of different personal truths. And despite the fact that as human beings we see the world by means of our common sense of sight, we cannot claim to be seeing the same things when looking; because, quite simply, each one of us turns their gaze on different aspects of reality and focuses on those aspects that concern them the most. The result being that each incident may entail an infinite number of different readings or interpretations. As Antonio Tabucchi claims in Il Gioco del Rovescio (The Game of Reversal), a thing that is this way is simultaneously another way as well and all can start from the beginning from a different point of view, in exactly the same way that all can be written from the start and in exactly the same way that all can be interpreted anew. In a similar way Tserionis is interested in the multitude of perspectives from which his work may be understood and interpreted; in the sense that each viewer takes as a starting point his or her own experiences and uses his or her own perceptive ability as a vehicle for interpreting this work.