There is an environment where needs penetrate the desires and continue their path. There is an environment where the needs use highway arteries and enable the needs to cross each other and go on. There are routes that turn right and opposite that for every element that is being forced and being submitted to the Bright Idea. There are limits that are mirrors of their internal field. There is the center of decision making as a chargeable cause of the senses’ circulation. There is the sample. Only one sample for a cycle, for a try. The vital organ entirely for the personal needs and desires. There is an exemplar life all the way till the vital organ’s limits. The vital organ is being formed as desired. It is basically the natural sequel of a right decision. The die is cast.
Nowadays, we are familiar with the Expressionist formats and we are constantly deepening our experiences and knowledge in the Information literacy. A century ago, the German expressionists had reacted to the idea of them being children of the machine and brought to the light the aesthetic of ugliness (Ernst Ludwich Kirchner), the morphic and emotional deformation suffered by the man unable to react to the rapid industrialization. In the Nietzsche tragedy of German aesthetics during the Cold War period, American abstract expressionists discovered and intertwined a fetching form of writing to describe the delightful emptiness of the universe (Jackson Pollock), the magical power of the primitive (William de Kooning), and the dynamics of calligraphic points (Franz Kline). Space, ethnology and semiology begun to monopolize the artistic interest and to broaden the subject matter of Expressionism with new morphoplastic elements.
From then on and until the ‘80s neo-expressionists brought to the foreground the intercultural dialogue of the people of the globalized market era, a multitude of artistic groups elaborated a significant amount of different images related to the transition of the world into a new Time, that of Informational and Virtual and Augmented Reality. Whether as the style of an era or as a psychological exploration process of the individual subconscious, through the expressionist gesture, a methodology was developed on the canvas, by which the artist attempts to determine the relationship between intellect and feelings in a world that is constantly changing technologically, thus altering peoples’ lives.
In a transformed era of software, automation, simulation, teleworking, bodynetworks, and all that introduce the connection of man to the machine, a phenomenon that Michalis Dertouzos analyzed and described in his book, What Will Be (1998) with the term "Human Machine", Asterios Toris caught that particular thread that leads the gestural painting to the next stage. Since experience and memory already pro-exist in museums, he ignored the commitments and taboos of historical expressionism and he re-evaluated the colors as the optical effects of the galactic space. By removing the ugliness of distortion, Toris experiments with the torrential flow of colors that describe details of the microcosm, invisible to the human eye. These details of the infinite minimum, the molecules described by Demokritos, which compose the matter and structure of the Universe, in magnification, create a new visual experience that resembles the experience of the galactic space. We don’t have to look at the sky to paint unconsciously astral grids like Matta or to look for the space-time continuum since we are experiencing it from the moment we start existing. Automated flow of paint on the canvas and then, manipulated and controlled by Toris, it satisfies the conditions and completes a holistic approach of the world. Without extinguishing the flame of inspiration, Toris creates seductive images of continuous color bursts to show us that the invisible microcosm is not separate from the visible reality, nor from the infinitesimal galaxy systems that Astrophysics is able to explore and Hollywood to turn into science fiction films. As the human imaginary undergoes powerful changes through networking, and it can investigate unsolved versions of the macrocosm with safer scientific knowledge, so that "the Universe can be concentrated in a Nutshell" as Steven Hawking wrote, definitely artists like Toris, will shift the boundaries of painting in unidentifiable versions of aesthetics.
Yannis Kolokotronis, History of Art Professor, Department of Architecture – D.U.TH.
Every detail of the project, while standing autonomous, is at the same time, a part of a larger puzzle in the implementation process. Therefore, revealed the hidden initially appointment authenticity of the creator with quality, which makes a piece best value for money. Projects with moderation but with genetic color-explosion dynamics that provoke us to "dive inside them".