In his imagery, Angelos Merges predominantly focuses on the human form and makes figures that appear to be both abstract and evocative. His consistent concentration on body shapes is self-explanatory in the use of his silhouettes—fluid and impersonal, which are capturing the essence of human postures without necessarily capturing each one’s identity. A sense of unity is created where Merges’ pictures look at the edge where his body figures meet the ambiguous way of arranging things. Each canvas vaguely turns into a place where figures come out and gather often in ͏quick moves might revealing feelings like wanting, bonding, and being alone.
One of the most notable things about Merges’ work is that he often uses the same, very isolated, body parts, those are hands and feet. By the repeated presentation and strong visual arrangement, he creats a sort of a rhythmic pattern in his pieces, suggesting that there is great life even in moments of quietude. These parts do not just sit on the canvas; they take up space, develop a dynamic body language showing their worth while leading the viewer through lively waves of energy. His colour palette sports a significant role in this visual interplay. Even though their actions look paused but still active, giving a feel of forever inside the limits of the picture while his repetitive parts dominate his imagery in various captures within the limits of the picture.
words: Yannis Kostarias
Additionally, the meaning of color is crystal clear through Merges’s art, and it does manifest the internal showdown of his art, as well. As he plays with a palette that spans from the softest to the most intense colors, Merges makes atmospheres swaying between the abstract and the tangible, whereas more subtle hues manage to capture his figures’ surrounding aura enhancing the artist’ visual vocabulary. The luminous surfaces almost glowing in their intensity challenge the viewer perception of light and texture while simultaneously enhancing the narrative tension of his pieces. The colour manipulation is interestingly organised as it renders his works the quiet introspective mood, inviting viewers to sink into a contemplative mode.
Using these means, Merges is able to convey another quality of his works, which is the image of a secluded rhythm that works as a strong foundation of his visual language. In fact, his body of work serves as experimentation on the human condition, encouraging his audience to engage with the silent dialogues executed through form, color, and repetition.
Can you tell us about the process of making your work?
I am originally a painter who works from photographic references. This means I build my painting compositions primarily using found photos. Any kind of picture can be used, the process of selecting an image is largely instinct-driven. In recent years, I have become less and less dependent on these materials. At this point, as my work shifts toward more abstract forms, I start a painting with only a very primal idea of what the final image will look like. I use photographs solely to guide me in the technical aspects. I employ a painting technique rooted in Alla Prima, which means that each painting should be completed in a single session. This approach pushes me to work quickly, keeping the vision of the final picture “fresh.” In doing so, a sense of spontaneity is conveyed, and the painting also tells the story of its procedure.
How would you define your work in a few words (ideally in 3 words)?
Inside, outside, in-between.
There is an esoteric energy in your art which overall gives a higher perspective into your work. How do you think about that vibe, and what feelings do you wish to bring out in the viewer?
It’s always important for me to create works that are captivating and spark curiosity. I think there are many artworks out there that demand too much of the viewer’s focus or intellectual capacity. Being an art enthusiast from a young age, I’ve come to appreciate the difference between a piece that immediately draws you in and one that requires sustained attention to connect with. I believe one of Painting’s greatest advantages lies in its immediacy. As viewers, we are trained to interpret images on a fundamental level, regardless of our educational background. For me, the priority is to captivate the eye first. Once that connection is made, the path for deeper reflection and engagement is opened.
Could you share with us some insights on your new work named ‘order of succession’ (2024)? Is there any particular story behind this new painting?
The work ‘order of succession’ belongs to a series of recent paintings. The depicted scene implies a group of men gathered crammed. The blue shorts they are wearing witnesses that maybe they are bathers, polo players or maybe they are waiting in line for a physical examination. Yet, the picture is reduced to its most functional elements, revealing only the least possible information regarding the background story. In any case there is a strong feeling of longing. The title “order of succession” refers to a succession of power, as if there is a position of favour expected to be taken. I always seek the uncanny in scenes that look intimate. The challenge to this effort is always to balance what is revealed and what is left to imagine.
Shiny and bright colour hues often show up in your art. Is there any fascination in your colour palette, and how do these choices change the feel of your pieces?
I guess the first thing that most viewers notice on their first encounter with works is the vibrant, saturated colors. This interest in using highly saturated hues emerged for two reasons: On one hand, it was influenced by my use of a screen as a reference and the effort to imitate the vibrant colors coming from the screen. On the other hand, it was a reaction against the dull, earthy tones that defined Greek Painting in the previous century, as well as the subtle contempt for color, a kind of moderate “chromophobia”, that still exists in the Greek art scene. Colors are often associated with specific decades. For example, when I think of Greece in the 80s, a palette dominated by beige comes to mind, it’s embedded in the collective consciousness. Reflecting on this raises an interesting question: what are the colors that define our generation?
Human characters usually populate your; Are you into more male figures or does identity fluidity sport a more important role in your imagery?
Over the past two years, I’ve been more attracted to fluid depictions. This approach is part of an effort to “mute” the identity of my characters. However, many of these narratives are connected to my teenage years, those times of going on adventures with my group of friends, so male figures naturally appear in those scenes.
Many of your works introduce a feeling of gathering showcasing an introspective human group of people; Is this a choice on purpose or does it come out naturally during creating?
The question of how individuality exists within a crowd concerns me, followed by the question of how we tend to address people while knowing little about their context. Yet the idea of painting people in groups came up naturally. I still have plenty of memories, either from being part of a group, like during my time in the army, or from observing groups, such as refugee gatherings on Chios Island, the place where I grew up and still visit.
Can you mention any artists you, lately or generally, take inspiration from?
Just to name a few artists who continue to fascinate me: Miriam Cahn, Jonathan Wateridge, and my hero, Philip Guston. Marlene Dumas also holds a prominent place in my archive. Caroline Bachmann, whose work I have the chance to see often since moving to Zurich. Recently, I had the opportunity to visit the amazing exhibition by Antonio Obá at Le Centre d’Art Contemporain in Geneva, as well as Tala Madani’s show at EMST in Athens.
What about the place where you work? What’s your studio space look like?
My studio is located in an industrial and rapidly developing area, not far from the suburbs of Zurich. The building is situated near the train tracks, and the space I work in has no windows but features a high ceiling. Although it can sometimes feel isolating, this environment is ideal for putting my bewildering thoughts in order. The space is part of an artist cooperative, so I’m fortunate to work alongside other artists.
Which are your plans for the near future?
Beginning of April, I’ll be having a solo show in Athens, which is my main focus at the moment. In 2024, I concentrated on establishing a presence in the Zurich art scene. This year, I will be participating in several shows in Greece.
All images courtesy of the artist & Kalfayan galleries