Tracking the Erebus

February 25th, 2013

Tracking Erebus, the place between Earth and Ades, Antigoni Kavvatha deals with the world of shadows, in black and white compositions, manipulating them to suggest what is not there.

She infuses them with substance by detaching them from the real objects and assigns them the role of a mirror, creating idols, images andscenarios not through their form but through their projected images.

She deceivesour senses and presents us with phantom world, where shadow is a commentrather than an alibi.


In the myth of the cave in Plato’s Republic the shadows are the ultimate stage in the pyramid of knowledge. Banished far from reality, without independent existence, fugitive, deceitful, they are the illusion and negation of knowledge.  We learn nothing from them; they don’t lead us to light and to the world.

Quite to the contrary, Kavvatha’s shadows speak of light.

They converse with a fragile nature, introduce us to the secret charm of things, and the chain of hidden meanings, which are often underlined by the presence of human figures. Although shadows by their very nature are the dark outlineof material things, in Antigone’s work they acquire ethereal, unexpressed qualities that seek their prototype. Perhaps they have no need of their material prototypes, which have been lost forever.

The shadows stand autonomous, continually reminding us that there once existed leaves and branches.  They bring to the fore the completed destruction of reality by the mass media, virtual reality and ideologies.  In this way Art banished from Plato’s Republic returns and claims her rights, opening crevasses in ideological and metaphysical caves, creating levels of self awareness, sensitivity, and accessibility of a naked world. Antigoni’s canopy of shadows allows the viewer a private conversation with the indiscernible and lost promises, or perhaps that which remains promised.

What is certain is that they express the idea that knowledge and reasoning is neither the exodus from the platonic cave toward the light, nor the replacement of the indefiniteness of the shadows by the easily perceived outlines of things. Kavvatha’s canvases represent the wandering in the byways of the labyrinths, the dark corners, the shadowy places of the world and the Erebus of the human soul.

Giorgos N. Economou
Dr. of Philosophy

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