At the gallery entrance, a large canvas, The White Lady of the Glaciers (all works 2016), hung on a narrow, freestanding wall partially blocking the view of the space behind it. All white, save for details rendered in gold leaf (a small circle resting on a white curve at the top, a semicircle below), the work invoked an icon in both title and positionas if marking the entrance to a citadel. A sense of the sacred resonated, too, in the construction of the canvaswhich echoed the show’s title, “TIME” (curated by Maria Nicolacopoulou)when one considers the lengthy (and meditative) process Panos Tsagaris uses to create works like these. This involves making a still life composition out of mirrors, photographing it with an iPhone, blowing the image up to use as a backdrop for further mirror arrangements, and repeating the process until a final composition is silk-screened
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