“The Nakedness” by Dimosthenis Gallis


We are facing a new challenge by the photographer Dimosthenis Gallis. This time, his lens invites us to focus on the naked body. Male and female bodies that accept to be exposed without a trace of embellishment and "shame." Why is this? The answer lies in the composition itself. Overcoming shallow puritanism caused by the sight of the naked body, Gallis tries and finally succeeds in presenting the immaterial through the material. The bodily material, which encompasses the immaterial soul, is the artist’s means to depict the inner world of his models. The poses, not at all coincidental, trap human emotions and externalize moments that each one of us has experienced and sometimes has attempted to suppress violently. Trapped, imprisoned feelings, in a body that is inconsistent with the mood of soul. This is depicted more clearly in the faces of certain models who “shape” the feeling and treat their body as if it is their soul. This is the main focus of the artist. The nakedness of the body is the instrument for releasing its contents, namely the idea contained in it. In this respect, we can assert with confidence that the art of Gallis liberates spirit from matter and thus it manages to reach its ultimate objective, its freedom. The artist is not interested in expressing himself in the ordinary way through a harmonious coexistence of content and form. He is drifting towards the disturbance of this duality without lacking in classicality with the idea of universality of meaning. The idea of Galli’s works breaks the shackles of form and moves towards freedom. His work upsets the balance, the solid and weighed classicality, and appears asymmetric and unorganized. With this "mutiny", the inner life of beauty is released and wanders uncommitted. Besides, highlighting this beauty is what the artist is aiming at. Beauty in the sense of truth. Everything that is true is also beautiful, even if this is depicted in the form of violent or bizarre emotions. This is the truth of the "nakedness": the idea prevails over the medium and thus spiritualization is complete. A spiritualization which is missing in our lives. Instead, those that dominate our lives are materiality and the pseudo-eudemonism it strongly promises. So, with this attempt the photographer tries to signal the alarm. The forms of "nakedness" are our internal “imprintings”, our surroundings, our true self. Hasn’t the time come to change yet?

Karpouzis Stratos Art historian-Philologist