Adamo Dimitriadis (Madrid, 1967)
Seduces him painting since childhood, but it would be the visit to an exhibition of René Magritte, already in their twenties, which determine their vocation. had just completed his studies in design. those were some beginnings near the lowbrow or pop surrealism. The muses you had cherished before without still take the brush. Visits to the Prado Museum with his father, a Greek engineer, Yes and another were a weekend also. Then discover the taste for figurative and research of color in artists such as José de Ribera, Diego Velázquez, Francisco de Goya and the Bosco. Then came his interest in different pictorial styles: pre-raphaelites, symbolism, surrealism, constructivism, Futurism, pop art or the precisionism.
2014 evolves towards a scientific realism. Science and morality are two inseparable concepts in his work. Progress examined since the magnifying glass on the ethics. That future perfect always overshadowed by the threat, scientific advancements diverted to purposes other than a human benefit. From here you drink its genesis, inspired by the future that never arrived, the retrofuturism and fascination with science in the decades of the fifties and sixties, an attractive universe of truncated perspectives that mixed with personal elegance in a conceptual palette which stand out the classic sci-fi , the architecture brutalist and the photography industry, as paradigms of the modernity.
Adamo Dimitriadis recreates the dark side of scientific progress with the unrealistic perception of a dream in Technicolor. His paintings radiate happiness tense, as if go from joy to disaster is a matter of time. They tell a fresh disappointment from a future past, a message that sprayed with irony to give entrance to his allegation of misuse of scientific progress, which has moved many examples to the present.
"Children no longer want to be astronauts and scientists, but footballers", summarized in an evocation. recalls that an early age industrial architecture and artwork of petrochemical browsing in the books of Engineering from his father. The atom, a constant in his work symbol, you woke up in those years a still unresolved curiosity, a result perhaps of the quintessence of the concept: its mysterious indefinition.
Madrid painter combines in his canvases love and electrons, children and nuclear power plants, Atomic toys, computers of the dimensions of a room, space cameras, industrial landscapes and much science, also much science fiction. A soundtrack conducted by the exotic Outer Space of the fifties and sixties and early 1980s industrial music.