Page 17 - SMCK Magazine #4

dried quickly and could be rolled up without damage. This change suited me well as I had been wanting to paint the colors of the sea, for which the bright transparent liquid paint is very appropriate.
When Greece joined the EU there was a noticeable change in the town. There seemed to be a lot of money
influenced by classical canons of proportion. The propor- tions of the rooms are very satisfying, and I believe in their classical standards of harmony.
SMCK: The cementation of the Acropolis rock surface and the paths leading to the surrounding buildings such as the
Parthenon and Erechteion has promp- ted vehement protests in both Greece and other countries. How do you feel about it, given the fact that Greece is asking for the return of Greek antiqui- ties in the possession of the British Mu- seum in London?
AB: I think it is a criminal act to cover
the earth’s surface with irreversible ma- terials. Around the world people are covering their gar- dens with concrete to have a car park. This has a serious effect on the water table. On the Acropolis there are all sorts of alternative ways of creating access for the disabled
– timber ramps, for example.
SMCK: How did you cope with the coronavirus pandemic and how do you envision art shows and events after it is over?
AB: The pandemic has curtailed our social life but we are lucky enough to have our studios in the house where we live in London and an attractive garden.
around. International footballers from
South America were employed for the
town team, but more importantly some of
the old houses were being demolished
and replaced by enormous new buildings.
Land was being sold for more and more
housing. An enormous wall of concrete
rose beside our house where previously
we had just the ancient olive trees. We
could no longer sit on the balcony and
enjoy the surroundings. The sound of the woodcutter’s chain saw made us increasingly uneasy. We became hem- med in by concrete. We now do our studio-based work in London.
SMCK: There is a heated debate regarding the virtues and merits of Western civilization – including Greek thought and art – in the US and Europe right now and an effort to devalue their contribution in the development of modern democracy and free thought. Even the classical standards of beauty and harmony are under scrutiny.
AB: I live in an 18th-century house designed by an architect who was strongly influenced by Palladio, who in turn was
“WHEN GREECE JOINED THE EU, THERE SEEMED „ TO BE A LOT OF MONEY AROUND.
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“Greek Dancers”, 1994. Etching, 24x30cm. Courtesy of the artist.