Icarus Monument of Fallen Aviators-Tanagra
In 'Icarus' monument of Fallen Aviators (1975) at Tatoi, and Tanagra (1980), which, in spite of the period of time which separates them, may be seen as a response to one another and at the same time as a differing interpretation of the theme, we have two further distinctive endeavors of Moustakas. Works of monumental dimensions, both marked by the use of purely abstract types. This is a case of a morphoplastic diction which allows the artist to advance to new interpretations of the subject, far removed from representational trends. Over and above the morphoplastic diction which is based on the abstract statements in these works, determinant factors are the emphasis on dynamic and expansive features, imposed by the energetic vertical and diagonal themes.
"Icarus" Monument of Fallen Aviators, Copper, 4.60 x 3.00 x 1.50m
In the Tatoi monument - 'Icarus I' - all the features, with the decisive role being played by the vertical and energetic diagonal themes, express the dynamic elevation and the fulfilment of one of the constant dreams of man. Without any trace of affectation or familiar representational types, by the stressed verticality of the subjects and the use of light diagonals, everything gives the feeling of liberation from gravity and of rising. In the Tanagra monument, in contrast with the Tatoi, the diction makes reference both to elevation and flying, as well as to falling. Here we have subjects which suggest, through the stressed vertical Icarus rising and the downward diagonal themes, his fall, with his wings leaving his body. The use of exclusively abstract types in both these works permits an investigation of the expressive potential of the forms, which complete to a greater extent the content of the subject - man's dream of transcending his own self.
Professor of Art History - Academician
Drawings entitled "Fall" - Indian ink