IN THE LATEST WORK presented by Denny Theocharakis, one might discern two chronologically different, and yet interconnected, thematic entities; two different kinds of representational expression. The first topic is about the age of “innocence”, about the time in which body and mind did not agonise about the recent lethal menace that has afflicted the entire mankind. Amidst this threat, the painter reproduces memories from travels of quest and exploration into far-off lands (mostly in Asia), where life has a different pace and is governed by different cultural norms.

PHOTOGRAPHIC REPRESENTATION POSSESSES A STRANGE POWER; even though it unveils its creator’s inner thoughts for the world, it does not convey the image through memory, as in painting. Photography requires the physical presence of its creator on the given space-time of the image.

THROUGH HER TRAVELS IN VARIOUS PLACES AROUND THE WORLD, Denny Theocharakis depicts her emotional experiences and captures with the lens her culturally intriguing perambulations. In the exhibition the silence of the glance she recounts to us in a unique fashion stories of people she encountered while travelling in countries across Asia, Africa, Europe and America.

The way Denny Theocharakis reused for her own visual journey the old blueprint papers that she found in the ransacked car assembly factory in Volos, and through here recent work and by following her own, discreet codes, she composes new worlds, whilst she bears in mind our own world, this one, down here.

Nature can neither be duplicated, visually represented or serve as an occasion for a plain, decorative calligraphy. Matisse used to say that “exactitude is not truth”, and this seems to be at work in this case. It is emotional tension in the painting of Denny Theocharakis that deconstructs nature and seeks the truth of “another exactitude”, seeks forms that are liberated from representation, but are committed to sensitivity, expressive force, lyrical inspiration and the restless spirit of the creator.

The originality, the most authentic expression, the “trade mark” of Denny Theocharakis’s work lies precisely on this conceptual maneuvering distinguishing it as a particular language. Furthermore, however, it is also demonstrated the interdependence, in time and space, of the most diverse – even of the most discrepant and contrasting – art idioms and, hence, their essential, unified identity. Ultimately, we recognize that the real course of art is not set towards one and only direction, for art knows how to be reborn within every artist, each time fresh and singular. Anselm Kiefer wrote: “All stories of heaven begin on earth. The “stories” of Denny Theocharakis seem to manifest themselves and unfold in a similar way. One sees the image soaring giddily from the bottom upwards – often recurring in parallel and asymmetrical compositions – as if it is propelled by its invisible roots, being transformed into a cathedral’s spire, a giant stalagmite, a prodigious cactus or even into an ethereal monastery, a Bablel ziggurat or perhaps into none of this, for one should not be surprised by the paradox.

The artistic world of Denny Theocharakis is composed of images drawn from nature, imprints in an abstract way in black-and-white tones or color spots, and with an intense and modern expressive language that permeates forms, deconstructs them, reforms them and inspires them with human characteristics and feelings, revealing to us the universal meaning of life.

Vigorously resisting the challenges of the various "trains that pass by", Theocharakis created a characteristically personal writing, in complete match with her passion for creation. A script that has decisively stood up to the leveling globalization of our times.

When I first saw Denny Theocharakis's undergraduate thesis in 2011 at the Athens School of Fine Arts, I felt as if I was moving to a world as remote as the one I had encountered in the caves - the first Christians' shelters in Anatolia. The artworks exhibited by Denny Theocharakis summarize all these motifs and such kinship images. They prove, as Oscar Wilde would say, that the real mystery of the world lies not in the invisible, but in the visible. And they depict by the means of plastic expression the primordial attempt of man to conceive it even if he cannot understand it.

The order and disorder of the microcosmos compose the form of the macrocosmos. Theocharakis follows the same route. In her personal Akrithakis' type "chick - chick" intrude houses, faces, images, memories, all compressed by a perpetual scripture. How, however, can the subconscious's warehouse unloading be interpreted in this way? As an instinctual assembly of motley words with surrealistic moods? As a fitting of the personal empirical negative film ribbon? It can be both.