a “CULT” figure, a Surrealist whose innovative views
combine the different cultures that nurtured him, and
his unbridled and unconditional passion for creativity.
Maria Marangou, Director
Museum of Contemporary Art, Crete
It seems insufficient and awkward to identify Tsiaras
as a photographer only, as he is involved in so many
other creative media. He doesn’t walk into the studio
on Monday as a painter, return on Tuesday as a
photographer and come again on Wednesday as a glass
sculptor. He steps into the workspace as an artist,
regardless of the medium in which he works at any
given moment.
Allan D. Coleman, Photography Critic tradition
The New York Times
I first came across the work of Philip Tsiaras in an
Italian foundry in 1994. "Endless Pitcher" caught my
eye, a polished bronze, perforated pitcher, balancing
precariously upside-down on fused industrial coils. If
was a strange marriage of materials and intensions.
Then came the man, the artist, and with him the
horses.
I remember, while visiting him in his Manhattan
Seaport loft, seeing hundreds of images of galloping
horses, lyric horses, running through calligraphic marks
and conceptual signs.
The horses seemed to vanish and reappear in a myriad
of lush surfaces and eclectic forms, above all, different
from any horse paintings I had seen.
Fabrice Marcollini, Director, Contemporary Art
Bank, Toronto, Canada
The horse like the woman: two sensual metaphors, two
beings that couple ideally in the obscure meanders of
our unconscious.They run about together, in authentic
territories of the fantasies of latent poets …
Tsiaras possesses them both with the energy of his
paint brush: instrument of seduction, love tool, periscope
that emerges from the marshes of infancy and which
examines emerging passions like islands underwater of a
recaptured maturity in the ocean's grave ...
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