Behind the fluid disfiguring forms in Lamprini Boviatsou’s painting, two parallel deconstructed worlds of integrated adjustment are concealed. The shiny steel surfaces define the gates of a stimulated unbreakable macrocosm prompting the fleeting partnership of the viewers’ image and the permanent spectral forms that the artist chose to inhabit long in her colourfull universe. The successive forms and the idols dangerously balance on the sharp boundaries of a crumpled lengthy future time and the ecstatic psychoanalytic micromoment of the creator’s painted self-portraits. Nothing is obvious from the first moment. The struggle develops subcutaneously and perpetually. The external world collapses aqueously through the multiple challenges of light and shadow, sparking successive readings, and the innermost world self-sways in the transitional extension of the soul’s vibrations towards the mind, mutating the painterly landscape into groundbreaking seismic field of psychoanalytic reading.

Nothing stands on solid foundations. All is self-overturned and self-refuted. Delicate, fragile surfaces support solid metal structures in an unimaginable, unbalanced sequence of development between the imaginary center and the real o center of the successive mutations of the chromatic form into a rigorous mapping of the registered idea. The closed gates of Boviatsou’s twin, invisible worlds open explosively under unbearable pressure for inner-creation and simultaneous outer-observation. They open through intuitive communication of her enclosing ideographic I with her most higly honored guest: the Visitor Viewer. She offers the viewer as veteran guide and as precious gift his/her outright involvement in the bio-active game of everyday life. A new chargeable source of experience results from the unpredictable but premeditated invasion. So finally, against serious empirical imaging exchange, Boviatsou offers to her worthy guest his/her active participation in the parallel, time-warped universe of personal creation, distributes the spectra per visitor, and documents with his/her presence new parallel routes of adaptation of the pulsating innermost world into another, the amphoteric reflexive one.

Ioannis N. Arhontakis
Art Director in the Contemporary Art Museum of Chania – Olivepress