Paris Roofs II 1952

Editor: So, here we have Nikos Hadjikyriakos-Ghikas’ “Paris Roofs II” from 1952, an oil painting that strikes me as almost architectural in its composition, though abstracted. It’s making me think of fragmented memories of a city. What do you see in this piece? Curator: What I find fascinating is how Ghikas distills the essence of Paris through geometric forms, hinting at Cubist influences while retaining a uniquely personal vision. It is an almost architectural puzzle—those overlapping shapes create a space that feels both familiar and disorienting. What cultural or psychological associations might these rooftops evoke for someone familiar with Paris, do you think? Editor: I suppose, subconsciously, a sense of enclosure or domesticity? Like peering down into intimate spaces even from a distance. Is that something Hadjikyriakos-Ghikas was known for exploring? Curator: He often delved into the idea of cultural memory. Look at how he repeats certain triangular shapes. These aren't just random forms; they’re like visual echoes, potentially reflecting collective memories of Parisian architecture. These repeated motifs serve as anchoring points within the abstracted cityscape. Do these repetitions generate a sense of rhythm or visual harmony, perhaps? Editor: Yes, the triangles do bring a sense of order to an otherwise chaotic-looking arrangement, a reassuring regularity. Curator: Exactly! Consider the emotional weight those familiar geometries would have had in postwar Europe. Were they a visual call back to a lost security? Do you believe Hadjikyriakos-Ghikas found significance within each tiny angle, and the pale color it shows? Editor: It's interesting to think of those shapes as more than just abstract forms – as carriers of history and emotion. It certainly deepens my understanding. Thanks for your perspective! Curator: And thank you, you've reminded me how even abstract art can carry powerful cultural and psychological meaning.