Antonakis’s recent work is directed towards his familiar issue, that of the elaboration of myth, through which, two years ago, we were introduced to his work while still an inventive student at the Athens School of Fine Arts. With great passion, he sees again the pediment of the Parthenon monument whose sculptures exist in memory and in historians’ versions. He organizes the outline of the pediment as a space in the computer screens virtual reality and inside he positions the human being in static posses that act the roles of the sculptural decorations.
The reminder of the invaluable monument is the framework in which he selectively passes fragments of contemporary history of art, of performance and body art, of transformations and variations and of Hollywood when it produces movies like Troy.
The humour presupposed in the present in the artist himself in the role of god covers the anxiety of a divination of his reflection’s boundaries.
Thus we have a young Greek artist, who wishes to interfere virtually in order to probably familiarize himself with the weight of a great art that is considered inaccessible.
Antonakis, disguises and transforms himself bringing the ancient monuments to the present with the intervention of a medium of photography and of technology participating in fragment on the pediment and the bas relief composition of the battle of the Titans acting with respect to the rules of the symmetry (what humour!!) taking part in the game of the sculptures immortality for a life span lasting as long as the spectators eye upon his work.

Maria Maragou