Putting up a system

Andreas Savva creates complex impressions for even more complex affairs without omitting the importance of represented ideas. He addresses his artistic temperament, demanding critique from the impressions. The value of those ideas is always based on observance and experiment. He draws from different values and contexts in order to arrive to new horizons.


The unending need for selection and the necessity for decisions remains the greatest challenge. In the end, he brings ideas into effect with certainty while mirroring life itself. These aren’t just unemotional, intellectual mathematics. He employs calculations and measurements in order to locate the position or value.

His attitude towards contemporary art stirs the well-established forms and asserts impressions of a functional, yet abstract system, which like nature, is a material system striving to transform into spirit. Therefore this system is expressed through the conditions of matter. Savva’s language of ropes handles every theme and space with incredible ease.

A web made of ropes seems to devour space as it seizes every point it can tie itself to and consumes everything that crosses its path like a crazed cell.

Ropes and items are geometrically arranged, scrupulously constructing works which signal a figure in space as an image, as an impression of the avoidance of gravity, and as an idea of an allegoric description of human fate. Andreas Savva has long been engaged in an effort to define this complicated relation as an impression which he presents to us with this installment of a mechanism behind the action. The audience has already undergone a transformation through everything being presented.
The artist’s story and the works he has created, the places he installed them in and everything that has occurred until now, define an invariable quest for the location of observance. The works’ history is not abiding, as they have the prospect of multiple interpretations. It is a procedure of identifying the theory which will express the content of Andreas Savva’s artistic work.
In contrast to kterismata (burial gifts) offered to the dead as the beloved items they would always want to keep, the “anti-kterismata” contain clothes and personal items that someone uses while they are alive. The sculptures extend everywhere like a giant multi-colored snake that carves the path, comprising the adventure of life.

The rope-made routes of the artist’s comprehensive sculptures evolved to the anti-kterismata. The object acquired a special form that has the potential to contain anything that anyone wishes it to inside another arrangement.

They are objects which we kept with us for a while, and which now join together in order to acquire gigantic proportions and to describe our daily commonness like a diary. The meanings behind Anti-kterismata surpass the opportunists and manage to evaluate everything we stubbornly keep close to us for a lifetime.

They concern a comprehensible evaluation of the instinct of possession which is fundamental in human nature. Along with everything that may entail.


It is evident that his work, Martyrology, carries a type of cross symbol. The cross symbol combined with the work’s title leaves no room for questioning. Here, it is dealt with as a symbol and form with a multitude of implications about faith, fear, torture and the exhaustion of the individual. The cross, a religious symbol and a human body in dimension contains rugs again. This time, kterismata and antikterismata are selected in a hypothetical relationship. Every interpretation is real. The rope journey sweeps through a global symbol, a universal one in mathematical terms but also a multicultural symbol which exists in every social and philosophical system.

Set in Metsovo, of Agios Georgios Monastery vineyards, Martyrology has much to say about human fate.

Olga Daniilopoulou

SSCP   CAS-002   9L0-066   350-050   642-999   220-801   74-678   642-732   400-051   ICGB   c2010-652   70-413   101-400   220-902   350-080   210-260   70-246   1Z0-144   3002   AWS-SYSOPS   70-347   PEGACPBA71V1   220-901   70-534   LX0-104   070-461   HP0-S42   1Z0-061   000-105   70-486   70-177   N10-006   500-260   640-692   70-980   CISM   VCP550   70-532   200-101   000-080   PR000041   2V0-621   70-411   352-001   70-480   70-461   ICBB   000-089   70-410   350-029   1Z0-060   2V0-620   210-065   70-463   70-483   CRISC   MB6-703   1z0-808   220-802   ITILFND   1Z0-804   LX0-103   MB2-704   210-060   101   200-310   640-911   200-120   EX300   300-209   1Z0-803   350-001   400-201   9L0-012   70-488   JN0-102   640-916   70-270   100-101   MB5-705   JK0-022   350-060   300-320   1z0-434   350-018   400-101   350-030   000-106   ADM-201   300-135   300-208   EX200   PMP   NSE4   1Z0-051   c2010-657   C_TFIN52_66   300-115   70-417   9A0-385   70-243   300-075   70-487   NS0-157   MB2-707   70-533   CAP   OG0-093   M70-101   300-070   102-400   JN0-360   SY0-401   000-017   300-206   CCA-500   70-412   2V0-621D   70-178   810-403   70-462   OG0-091   1V0-601   200-355   000-104   700-501   70-346   CISSP   300-101   1Y0-201   200-125  , 200-125  , 100-105  , 100-105  , PR000041   CISM   220-901   70-347   CAP   9A0-385   100-105  , 300-206   M70-101   1z0-434  , 000-106   1Z0-061   000-105  , 200-310   70-412   c2010-657   70-532   200-310  , ICGB   2V0-621   200-125  , 350-060   EX200   300-208   640-911   ICGB   640-916   400-051   200-125  , 1Z0-144   200-125  , 350-018  , 70-532  , PMP   1Y0-201   300-206  , CRISC   MB6-703   70-461  , 70-487   101   100-101   CAS-002   JN0-102   2V0-620   101   000-017   CCA-500   9L0-066   000-089  , 352-001   000-089   220-802   1Z0-060   CISM   220-802   000-089   642-999   200-101  , 1Z0-051   CAP   000-106   JN0-360