I recognize Art in what makes humans less similar to the monkey and more similar to God.
All the rest, that is its craftsmanship, its spirit, its relationship with its Age, is the job of the historian who will try to organize the chaos of the contemporary Babel of the Fine Arts, where the artist may stay still and exercise its omphaloskepsis, driven mad because nobody can decipher his artistic language. But if, within all this uproar, you hear something like a very familiar "A", you can take a hold of it, the one near you takes hold of it too, and everybody understands: "A". So, there is hope to start building a new alphabet again. Who knows?
So, here we stand! Costis, with the archetypal symbol of the lightning recalls an image commonly perceptible to the collective memory: the vivifying - born of God lightning, which "mates" heaven to earth. Then, Costis puts the spectator to interact with the artificial lightning, within the field of his energy sculptures, as the frequency, the intensity and the shape of the lightning depend greatly on the movements of the spectator. So, "the interactivity admonished by the artist, allows a creative communication, based on constructive, critical and innovative attitudes" (i).
If you agree that "every work of art is the child of its Age, and often, the mother of our emotions" (ii), the work of Costis, where the Art meets with Technology, is a child of the electronic Age. The presence of this work in Cyberspace, through the ART TOPOS pages represents this happy meeting in the Information Era. But, beware! We said that "the work is a child of its Age". It is contemporary, sensitive to the messages of this Age but not, by any means, "seasonable", or even worse "modern". Everything is clear from the moment that its intention is the participation, the communion, and its aim is the awakening of the collective memory through the archetypal image of a natural phenomenon. To make our ancient soul remember that we are one with the Universe and that the Universe is not surrounding it but possesses it.
© ART TOPOS, 1996