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Nassos Daphnis1-901990
1990
About the Item
1986-1992
PIXEL FIELD
In 1986, Nassos Daphnis was 71 years old when he booted up the computer for the first time and he was soon conversant enough with the machine’s capacity to use it fluently in his work. He was launched as a pioneer — one of the very first artist to adopt the resources of the new technology into the hitherto slow developing processes of paintings.
It was the winter of 1985. Nassos Daphnis was getting an idea down on paper for a new abstract work in his West Broadway studio. The idea was burning bright, but his work processes were painstaking, indeed finicky. He complained to his son, Demetri, about the endless frustration of being unable to render this Eureka! moment as swiftly as required. The son introduced the father to an Atari ST computer. Call this Eureka moment, Part II. Daphnis was seventy-one years old when he booted up a computer for the first time and he was soon conversant enough with the machine’s capacities to use it fluently in his work. He was launched as a pioneer — one of the veryfirst artists to adapt the resources of the new technology into the hitherto slow-developing processes of painting. Pixel Fields, a show of a body of work made between 1987 and 1992, which marks the repre-sentation of the Estate of Nassos Daphnis by the Richard Taittinger Gallery, is unique within his oeuvre and reveals him as a precursor to today’s New Media artists. These twenty-two paintings are remarkably diverse in their pictorial organization, but are alike in exploring the brave new world of computer-generated graphics. THE EXPLOSION 6-87 (1987), for instance, an image of expanding circles and radiating spokes, painted in enamel on canvas, explores the architectonics of the circle. 3-89 (1989) features bent lines and jagged contours suggesting the pixilation that is a feature of low-resolution screens. The final sequence interlocks oblongs to bring to birth what can be read as multiple cityscapes within an in finite, virtual world.
Daphnis was born in 1914 in Krockeai, near Sparta, the Greek city historically famous for its powerful military, its rigorous perfectionism, and its proverbial austerity. Growing up, he drew compulsively but had no exposure to art whatsoever, aside from church icons. He immigrated to New York with his family in 1930 when he was sixteen. Daphnis received no formal training in art, apart from random lessons, but began painting folksy canvases, based on scenes of his youth, and exhibited before serving in World War II. Upon his return, his style began to evolve. From outsiderish realism he moved into a biomorphic abstraction with a Surrealist inflection. Then came his return to Greece in 1952. His re-experience of the stark, clear Greek light was a revelation. “The glare of the sunlight against a certain form eliminated all surface anomalies — I could see everything as one form.”
“In Greece you have this dry landscape...I would see everything flat, for instance, because the dazzling quality that everything had and the form would just disappear.”
- Creator:Nassos Daphnis (1914, American)
- Creation Year:1990
- Dimensions:Height: 36.13 in (91.78 cm)Width: 44.13 in (112.1 cm)
- More Editions & Sizes:UniquePrice: $45,000
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:New York, NY
- Reference Number:
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