Angelos Panagiotidis is a sculptor who explores and delves into the essence and metaphysical dimension of his works.
His works in bronze and brass, processed using various techniques, are inspired by nature, which he experiences by observing its stages through the hours and seasons of the year. However, he does not limit himself to mere observation, but rather makes the appropriate interventions or subtractions, so that his forms connect on one side with everyday life and on the other with archetypes and symbols that have been created and continue to function within collective memory.
The sculptor has, at times, created works (such as wreaths) using various foliage, as well as small trees, most of which are related to the olive tree, in different sizes and varieties.
With great attention to detail, vitality, and artistic precision, Angelos Panagiotidis captures the branching of the boughs and the movement of the foliage with a lifelike quality that coexists with the rhythmic elements of his compositions. The fruits and leaves of the olive tree intertwine through chromatic contrasts of black, dark green, pink, and violet, revealing the stages of ripeness—primarily of the fruit—while also evoking the different temporal phases of the tree itself, with the corresponding knots on each trunk. Meanwhile, in some cases, the branches host nests and birds of the sky, which find a temporary refuge.
The olive trees of Angelos Panagiotidis are presented alone, dense with foliage and scattered fruits, laden just before the harvest. At other times, they appear small, slender, and supported by sculptural bases. Each one has its uniqueness, and when viewed together, they form an evocative forest, inviting the viewer to wander among their varying sizes and forms, participating in a paradoxical and captivating “environment.” An “environment” that provokes reflection and contemplation on nature, which is marginalized, neglected, and destroyed.
The trees or olive groves, whether denser or sparser, of this particular sculptor also function allegorically, as they connect with archetypal states concerning human solitude, memories, utopias, nostalgia, and desires—both hidden and revealed. Many of his trees appear to obey the forceful gusts of the wind, turning their leafy crowns in a specific direction. Often, at the base of their trunks, a solitary traveler or wanderer of life’s roads sits with bent legs. Frequently, human presence is substituted by a ladder, resembling those used for harvesting the olives or, alternatively, Jacob’s ladder from his mythical dreams. At times, the ladder is replaced by the wreckage of a boat, shattered by the waves.
The breathing, vibrant olive trees of Angelos Panagiotidis, whether standing alone or forming diverse compositions, reflecting the fleeting tonal gradations of light and the shadows they cast, never go unnoticed. They become points of reference, elements of transcendence and transformation of space, acquiring a dimension of poetic elegy.
Athina Schina
Art Critic & Art Historian