A second phase of the "Metamorphosis" project is presented in this exhibition by the South-African-born, Cypriot artist Sergis Adamos.

The triptych "Paphos Souls," which got awarded at the 2018 Larnaca Biennale, provided a visual explanation of Sergis' use of the original material derived from the decayed, water-damaged negative plates of the famous Cypriot photographer Spyros Haritou 1901-1991, which served as an introduction to the exhibition as well as documenting the archive.

These negatives, which the artists use as raw material, provide an insight into Sergis’ future direction and are clearly evident here. There are two different yet related aspects of imagery.

The bulk of the work here is a group of works where Adamos has eliminated, and in one case completely removed, the moisture-damaged textures on the periphery of the negatives, focusing solely on figurative elements, randomly superimposed on each other. These superimpositions are almost imperceptible unless the works are studied carefully. Then, and only then, will one become aware of singular, dual, and multiple clothed abstracted figures.

One cannot fail to be impressed by Sergis’ remarkable talent. Employing the last 25 years of digital technology, Adamos has accumulated many skills. His ability to introduce what best can be described as "new pointillism" recalls Seurat for one. Additionally, in the lighting one sense Vermeer's presence, chiaroscuri like that of Rembrandt, compositions similar to Cezanne's, textures employed by Gustav Klimt, and emotions akin to Van Gogh. I know Adamos was totally unaware of such similarities. It occurred naturally and spontaneously, as so often it does with creative artists' vision at play. Taking all of this into consideration, this is a remarkable exhibition and a stepping stone toward exposure on an international platform.

Professor Maurice Kahn

Bezalel Academy of Arts and Design, Jerusalem

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