Page 43 - Studio International - July 1965

Maltezos

melodic line that runs across his paintings is often self­ When Maltezos returns to a fuller use of colour. as in
sufficient and in conformity with a strict monochromatic the mural paintings he carried out for one of the villas at
design that allows the basic effects full appreciation. Castellaras-le-Neuf. and in some of his recent paintings
But. for Maltezos. the monochromatic effect is not on canvas. he achieves effects that can truly be called
the absence of colour. He uses a scale of selected fascinating. The purely graphic signs are mixed with
shades. the variety of which is no obstacle to immediate ideograms taken from no particular culture and century
identification of his work. These are oxidized nuances. -but from all time: these open up for us-the spec­
greys, acid greens. metallic pinks, all with traces of tators-a new route towards some understanding of a
aluminium. accentuating the effective character of private universe that is redolent of a mystery beyond
the atmosphere in which the work of art is enclosed. immediacy. ■
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