MILTOS PANTELIAS

Born in 1954 in Athens.

He studied engraving and lithography at the Ecole Nationale Supérieure des Beaux-Arts (1974-1978) at the workshops of Lagrange and Dayez and then at the Art Plastiques section of Paris VIII University.

He lived in Paris for eleven years (1974-1985) studying painting.

He has presented his artwork in twenty five personal exhibitions and several collective ones, in Greece and abroad.

He has made numerous engravings and lithographies for special numbered editions and poetry collections.

Paper’s fragility and sensibility becomes a predilection place for his drawings with the blooming figures. The oscillation between painting and drawing under sepia undulations and his wanderings between the image and the script spread over his canvases a mist of palimpsest of matter and time, the time of the confused memory.

The fold in palimpsest, the “inhabited” fold defines actually the new domain of his art language.

His artwork is included to many important public and private collections in Greece and abroad.

Personal Exhibitions

• 2014: Nitra Gallery, Thessaloniki
• 2012: Terra Mater, Bazaios Tower, Naxos, Greece
• 2012: Maison Du Chevalier, Carcassonne, France
• 2011: Tholiai te kai apoptygmata, Atrion Gallery, Thessaloniki
• 2009: Arcadia in situ, Arcadian Museum of Art and History, Levidi, Greece
• 2009: Ek parallilou, ArtGallery, Alexandroupolis, Greece
• 2006: Sensus Rescriptus –Draperies, Skoufa Gallery, Athens
• 2006: Diosimeia, Art Gallery, Alexandroupolis, Greece
• 2005: Diosimeia, Alma Theater, Athens
• 2002: Ecritures paralleles, Espace Periple, Bruxelles
• 2001: Palimpsests II, Ermoupoleia 2001, Syros, Greece
• 1999: Palimpsests I, Gallery Trigono, Kifisia, Athens
• 1998: Skoufa Gallery, Αrt Athina 6, ‘98
• 1997: Parallel natures, Wigmore Fine Arts Gallery, London
• 1997: Parallel natures, Εspace Periple, Brussels
• 1996: Terracotta Gallery, Thessaloniki
• 1994: Gallery Οpus 39, Nicosia, Cyprus
• 1993: Hyacynthos Gallery, Kifisia, Athens
• 1993: Terracotta Gallery, Thessaloniki
• 1991: Skoufa Gallery, Athens
• 1990: Terracotta Gallery, Thessaloniki
• 1990: Astrolavos Gallery, Pireus, Greece
• 1989: Skoufa Gallery, Athens
• 1985: Nees Morfes Gallery, Athens
• 1981: Kamara Gallery, Monemvasia, Greece
• 1980: Nees Morfes Gallery, Athens

Selected Collective Exhibitions

• 2011: 20 portraits X 20 artists, Vimamen, Athinais Art space, Athens
• 2010: Ozmoz II, Maison du Chevalier, Carcassonne, France
• 2010: Johannes Gennadius and his World, at the Gennadius Library, Athens
• 2010:Tracing Istanbul, Theological School of Chalki, Istanbul, Turkey
• 2009: Material Links, Contemporary Art Center of Thessaloniki
• 2008: Material Links, MoCA, Shanghai, China and Technopolis, Athens
• 2008: Galerie Triskel, Chateau du Puget, France
• 2007: A tribute to Dionysios Solomos, Pinakothiki Moshandreou, Messologhi,
• 2007: Ex Convento Ss Cosma e Damiano, Venice, Italy
• 2006: Thalassa koitida politismou, Kairios Library of Andros, Greece
• 2006: Greek Paintings of 20th century , Municipal Gallery of Chania, Creta
• 2006: Ichnilatontas tin eikona, Cultural Center of Elefsis, Greece
• 2006: Once upon a time, Penelope Delta…, American College of Athens
• 2006: Art kites in the European Parliament, Bruxelles
• 2005: Anthographies, Pinakothiki Grigoraki-Museum of Engravings, Athens
• 2005: The ship and the sea, Pin.Grigoraki-Museum of Engravings, Athens
• 2003: A tribute to the woman, Pinakothiki Grigoraki-Museum of Engravings,
• 2002: 10 Greek Painters have painted and printed, Pinakothiki Grigoraki- Museum of Emgravings, Athens
• 2002: Greek paintings and sculptures from Chatzisavas collections, Municipal Gallery of the city of Athens
• 2001: The myth of the woman at the Greek Contemporary Painting,
• Museum of Contemporary Art of V. and E. Goulandris, Andros, Greece
• 2000: 17 Griechischen Kuenstlerrn, Mainz-Drais, Frankfort
• 1999: Art on the paper, Zefxis Gallery, Thessaloniki
• 1998: Focalizations du Regard, Building of the European Union, Brussels
• 1998: Art Athina 6 `98: Skoufa Gallery, Athens
• 1997: Adila, Trigono Gallery , Athens
• 1997:Vakheia, Paratiritis Art space, Thessaloniki Cultural Capital of Europe
• 1997:Εsties Vlemmatos, Center of Contemporary Art, Larissa, Greece
• 1997:Ex Libris, Center of Arts Hyacynthos, Athens
• 1996: A tribute to Pericles Pandazis, Pinakothiki Αverof, Metsovo, Greece
• 1996:Is there an age for the art?, Municipal Pinakothiki Larnaca, Cyprus
• 1996:Les messagers, Astrolavos Gallery, Athens
• 1995: Gend Flanders Expo: Lineart, Gallery Triskel, Belgium
• 1995:SAGA ’95, Galerie Michele Guerin, Paris
• 1995:A tribute to Greco, National Pinakothiki of Athens
• 1994: The Dr. H. P. Livas Collection, Hall City Museum, England
• 1994:Ex Libris, Hyacynthos Gallery, Athens
• 1992: Galerie Kamara Monemvassia, Greece
• 1989: Art Forum, Nees Morfes Gallery, Athens
• 1984: Gallérie Sculptures, Paris
• 1984: 6eme Biennale de Gravure, Mulhouse, France
• 1984: 33 Artistes Grecs a Paris, Centre Culturel de Sannois, France
• 1983: Biennale de Gravure sur bois de Croissy-sur-Seine, France
• 1982: La femme et l’imaginaire, Gallérie Marcel Bernheim-Guyot, Paris
• 1980: Nees Morfes Gallery, Athens
• 1978: Maison des beaux-arts, Paris

Selected Reviews and Publications

• Iris Kritikou, Material Links, the catalogue of the exhibition, Elix editions, 2008
• Panorama of the Greek engraving, EETE edition, the catalogue, 2008
• Iris Kritikou, A tribute to Dionysios Solomos, Mikri arktos editions, 2007
• Takis Mavrotas, Visual Inscriptions (eikastikes katagrafes)1986-2005, Poets of colouring and drawing, Kastaniotis edit., 2006
• Iris Kritikou, Once upon a time, Penelope Delta…, catalogue of the exhibition, edit. The Athens College, 2006
• Andreas Georgiadis, Diosimeia, the visual and musical approach of a myth, www.Hiridanos.gr, Mai 2006
• Nikos Dontas, Searching Naxos in mythological Greece, journ.I Kathimerini, 23 April 2006
• Giorgos Kiousis, a myth pursuit on the Zas mountain, journ. Eleftherotypia, 11 Mars 2006
• Thomas Tamvakos, Diosimeia, a three-dimensional approach of a myth, mag. Jazz & Jazz, issue160-161, 2006
• Stavros Xyntaras, An interview, journ. Apogevmatini 7 Oct. 2006
• Diosimeia, the three-dimensional research of a myth, Pantelias-Gonou-Andronikou, Kedros editions, book and CD, 2006
• Giorgos Kiousis, Draperies, journ.Eleftherotypia, 24 Oct.2006
• Sensus rescriptus-draperies, the catalogue of the exhibition, preface Pan.Vlachos, Skoufa Gallery, 2005
• Haris Kambouridis, Sacred and Profane: Sights of the woman at the Contemporary Greek painting 1930-2005, edit. MunicipalGallery of Chania,2005
• Marina Kanakaki, 10 years of Greek Art: 1994-2004, edit. Gerolymatos Societies, 2004
• Nikos Grigorakis, The olive tree in the Greek engraving, edit.Adam-Pergamos, 2004
• Haris Kambouridis, Nea eikonolatreia, The triumphal return of the painted representation, catalogue of the exhibition, Fine Arts Kapopoulos Gallery, Athens 2003
• Miltos Pantelias, Palimpsests, the catalogue of the exhibition, preface Athina Shina, Ermoupoleia 2001, Syros, Greece
• New European Artists, An annual of contemporary European artists introduced by prominent art critics, Philip D. Dracodaidis: M.Pantelias vol.1, editions Edward Lucie-Smith, 2000
• Catherina Tzavara, The paper as a fetich! mag. Votre Beaute, Jan.2000
• Takis Mavrotas, Miltos Pantelias, magazine Marie Claire, Dec.1999
• Konst.Vogdou, the magic revelation of the memory, journ.Athinaiki, 22 Nov. 1999
• V.Tzevelekou, Between yesterday and today, journ. Elefth.Typos, 30 Nov. 1999
• Eva Polyzoi, The palimpsest traces of the history, journ. Vradyni, 4 Dec.1999
• Stavros Xyntaras, M.Pantelias, newspaper Apogevmatini 25 Dec. 1999
• Athina Shina, The inscription of the image, magazine I Lexi, Nov-Dec 1999
• Penny Oehaliotou, magazine House & Garden, March 1999
• N.Grigorakis, The still life, edit.Vivliothiki neoellinikis haraktikis, 1999
• N.Grigorakis, Leda and the swan at the Greek contemporary art, 1998
• Christina Farakla, An ascetic bound to the city, Members magazine, 1998
• Katerina Tzavara, Parallel Natures, journal.Eleftherotypia, 7 Νοv.1998
• D. Rogan, A talented creator, mag. Living, 1997
• N.Grigorakis, Greek ex-libris, Diatton editions, 1997
• Αthina Shina , I.Gonou, M.Pantelias, mag. ΑRTI, issue 35, 1997
• Dictionnary of the Greek artists, Melissa editions, 1997
• Katerina Tzavara ,Interior Landscapes, magazine Έpsilon, issue 261, 7 April 1996
• Katerina Tzavara, Unending search, magazine Votre Beaute, March 1996
• Sophia Kazazi, Interior Landscapes, preface of the exhibition’s catalogue, Thessaloniki 1996.
• Αn. Τedokali, The new aesthetics, journal Thessaloniki, 22 March 1996
• Haris Livas, An astonishing couple, Athens News Agency, No 65, 4 June 1996
• Sophia Kazazi, Greek Artists, 10 years of critics 1985-1995, Diagonios editions,1996
• Anna Grimani, M. Pantelias, painter-engraver, magazine Eikones, issue 500, Μay 1994
• The Cyprus weekly, M.Pantelias, Opus 39, 17 Nov.1994
• Cathrine Tziavara, Neo-romantism, magazine Epsilon, issue 139, 18 Dec.1994
• Mary Matchas, Etenally Feminine, the Athenian, Μarch 1993
• Τakis Μavrotas, Poetry in colour and design, magazine Marie-Claire, March 1993
• Sophia Kazazi, Back to the old values of painting, magasine Theoreio, 12 Febr.1992
• Dora Markatou, M.Pantelias, magasine ARTI, issue 187
• La mia casa, M.Pantelias, Erotic Adolescence, Octobre 1991
• Chryssa Kakatsaki, Dreams of figures and landscape, journ.Avgi, 22 Oct.1991
• Ilias Kanellis, From an old Mirror, magazine Idaniko Spiti, November 1991
• Τakis Μavrotas, Sensual painting, magazine Pantheon, Μay 1990
• Sophia Kazazi, M.Pantelias, Erotism in Art, magazine Entefktirio 12 Oct. 1990
• Sophia Kazazi, M.Pantelias, Erotic Adolecence, journ.Thessaloniki, 29 Nov.1990
• Sophia Kazazi, M.Pantelias, magazine Eikastika, issue 40, April 1985
• Ηaris Livas, Contemporary Greek Artists, M.Pantelias, Vantage Press, New York
• Α. Τasos, The new forces in the engraving, the exhibition’s catalogue, Αthens 1978
• Haris Livas, Athens Daily Post, 13 Dec1978

About me

For Miltos Pantelias in the process of creation, often no innovation is itself innovative. Utilizing acrylics, pencil and paper on canvas, he investigates issues of time and memory, following a per­sonal private process. Minimal use of color; successive layers; persistent folds that intimate a metaphysical human habitation; fragile materials with palimpsest handmade finishes; complex but simultaneously sublime feather-light constructions, permit the viewer to wander in space and penetrate the rites of time embodied through vaporous projected figures, while remaining enigmatic, riddled with snapshots of memory, charged full of inscrutable riddles with ambiguous solutions.

Iris Kritikou, Material Links, Elix editions, 2008

The work of Miltos Pantelias is seamless.

Themes, technique, ambience: always in balance. Time is present, memory is present. Which time? Which memory? Our personal memory enfolds an eternity.

The making is what composes memory. It is the finishes, the cracklings that are the mystagogy of time: The sense of a time that is enigmatic, perforated by instances of memory.”

The making. Miltos Pantelis starts by composing his canvas, tela di lino, a surface on which, overlapping, the layers of the palimpsest stand. His creations challenge the gaze to recognize, to seek behind the obvious, to break out of the frame, to rove. He thus renders the familiar distant and vice versa.

Shapes, Landscapes, and Writings.

“It’s not exactly landscapes that I paint. I like to approach a world that is in constant creation. A genesis. The unexplored enigma of the new. Shapes and writings, or better yet, bodies and writings. Words inscribed on the body. A body that creates words. To put it differently, it’s something that has already been written or even something that is being re-written.”

Sensus Rescriptus. A rippling fold in palimpsest overlays. Is it a lived-in fold or perhaps an absence of body?

Panagiotis Vlachos from the catalog of the exhibition “sensus rescriptus”, 2006

By means of a particular technique which is not based on flashy colours, or strong interplay of light and shade, Pantelias started a personal and tender creative course. The female figure is his treasured subject. Captivating and airy, she rises from the surface. The finesse of his painting rivals with an atmosphere of intriguing sensuality so the paintings are charged with dreamy sensations that refer to the past and to desire. The nostalgic temperament of Pantelias, challenges and resists the spirit of cynicism and materialism of modern times.

Marina Kanakaki, 10 years of Greek Art: 1994-2004,Gerolymatos Societies editions

“…I was 19 years old when I left for Paris. I wanted to study painting. I confess that I was disappointed when I got there and saw supposedly ‘promising’ young painters throwing paint all over the place. Then one day I passed in front of the door of the Print making Department and smelled all the odours of the engraving kitchen. Engraving needs discipline, knowledge of the various possible techniques, of all the many details. I studied painting by studying engraving. This ricochet makes me think that painting is not just a matter of making a gesture, nor is it a therapy for mentally disturbed individuals. It’s the process of creating a world that doesn’t exist but which is real for me as well as for others. I have never painted in the open air. I collect the elements that catch my attention through notes and rough sketches, then I reconstruct them in my studio by structuring an ensemble that has nothing to do with the forms I’ve seen at the beginning of this process. My studio has no natural light. I installed a system of fixed light that allows me to see all the details always under the same light and work in the same unchanging environment whether it’s day or night. This helps me to live in a world full of elements I should like to see around. Thanks to these I build a new state of things without metaphysics, without romanticism. They are prominent in my paintings: old maps, manuscripts, seals, old photos… I am always surprised by the details; that’s the reason why I look at paintings from very close to. Large works of art are thrilling whether you look at them from a distance or from very close. The peripheral details give value to a work of art.”

“…My paintings can easily be misunderstood by people who don’t believe that artists create in order to have the possibility to destroy. When I paint, I am under tremendous pressure, ready to annihilate my work. However, I think that such pressure is positive.”

New European Artists, An annual of contemporary European artists introduced by prominent art critics, Philip D. Dracodaidis: M.Pantelias vol.1, editions Edward Lucie-Smith, 2000