In the center of the artwork the pieces of gold shapes form an imaginative shield. It is the shield of the Hoplites - the Assyrian infantry - that silhouettes before us, symbolizing glory of the Neo-Assyrian empire and its incredible wealth. The cracks in the brilliant inlays overshadow the riches and grandeur: they tell a story of endless battles and bloodshed. The black lines both ascending and descending symbolise the fierce arrows of the Assyrian military, promoting the omnipotence of imperial consciousness. Their confident traction, however, soon gets weaker and shorter, then ends in marble texture: the myth of invincibility falls to pieces in the ethereal blue.
MM Assyrian Treasure - 100x100 cm
The ‘Towers of Babel’ is a shocking confession of the artist's creative imagination. The organic image summoned to the canvas through the fine tuning of intense colors and hesitant, robust shapes is the definition of the tragic destiny of excessive ambition. The artwork tells the symbolic story of the Tower of Babel. ‘Babel’ means ‘gate of God’. According to the biblical story in the Book of Moses, the people, overwhelmed with self-idolization and desire for power, intended to tie the earth to the skies. The colossal form spanning from the unstable fundaments of the frame pushes upwards with a demanding volition, so that it would announce its false greatness, tainted with treachery, once it reaches divine heights. The vivid red colors glowing through the irregular mass, breaking the construction of the golden texture, are a reminder of the bloody towers of Babel: they serve as an eternal memento to the tragedies caused by human ambition.
MM Towers of Babel - 100x83 cm
The composition presents the history of the city of Akkad through aligning unique shape constellations, and color reflexions that were forged to symbols. The name ‘Agade’ means ‘Crown of Fire’. The curiously toned shape unfolding from the intersection of the four segments speaks of the legend of Sarrukin. The blue color boiling up from below reflects upon the infant found in the water, a story not unlike the one of Moses. Above, the stretched darker area’s yellow effects stand for the providence that aids acquiring the throne and receiving Istar’s blooming love. The Akkadian king’s glorious conquering of the four corners of the Earth looks back at us in the four segments of the painting. Sarrukin revived Agade to resemble Babylon, which resulted in angering Marduk, patron deity of the city of Babylon.
MM Flames of Agade - 120x120 cm
Through the ‘Euphrates’ abstraction a majestic, extraordinary and extrasensory vision manifests in front of us, from thousands of years ago. The ethereal background, composed of countless shards of blue, pushes the sparkling gold field to the front through the tenderly infused twilight veil. Lookin at the painting, we can almost hear an atmospheric symphony making waves of sound in our minds. The magnificent river Euphrates appears, its surface being melted gold, mirroring images of prospering empires from the beginning of time. The vertical roots of red brooks symbolise the infinite effects that the Tigris–Euphrates - the cradle of our evolution - and its people had and is having on our civilization.
MM Euphrates - 120x120 cm
The ‘Palaces of Babylon’ carries an irregular shaped apparition divided into squares. The dazzling glow of the magnificent palaces of Babylon interweaves the dark tones of the frame’s background. The painter expresses his remembrance of the mighty empire and its historical last days with an unusual arrangement of off-axis compositional shapes. With this, he brings back the image of the symmetrically constrained golden mosaic pieces that covered the Babylonian palaces. The rooftops coated in gold tell of a once prosperous empire’s unimaginable wealth. The main philosophy of the artist’s fatefully valid theme is the expression of time as a force of shocking destiny. The luxurious Babylonian palaces, unhinged, fall to pieces and disappear, just like their former glory.
MM Palaces of Babylon - 160x140 cm
The ‘Ninth Slab’ tells the story of King Uruk. Gilgamesh mourns his loyal friend, Enkidu. The darkness befalling on the right side of the frame embodies the threatening strength of Mount Masu, and the sharp golden inlays towering over it resemble two Scorpion men guarding the mountain. The suffering of the Sumerian king touches the heart of the grim guards and so they lift the king who is searching for the key to eternal life. The allegorical ripples passing through the abstraction symbolise transcendence between reality and imagination, and the facing of fate as consequence to our actions.
MM Ninth Slab - 100x160 cm
The ‘Ruins of Larsa’ gains its unique atmosphere from the poetically phrased beauty of the creative imagination, and from its fabric, interwoven by a set of imaginative motives of reality. The painting’s spatial vision is established by the dynamic harmony of shapes connected by their differences, evoking the spirit of Samsa, the Semitic Sun god. The once marvelously beautiful, prosperous Larsa stands before us, its precise arrangement of its wise mass representing the ancient city’s legend with a certain ceremonial dignity. A legend that speaks about the conquers of Hammurabi, the glow of the city, and, finally, its fall. The painting brilliantly freezes in a harmonious image how the Sumerian city carries traces of the never stopping cogs of time.
MM Ruins of Larsa - 80x180 cm
With the ‘Babylon's Gold’ artwork, the painter tells the story of a biblical symbol known from the Book of Revelations; an emotional tale of Babylon the Great. The composition almost keeps the audience in levitation and devotedly praises the Neo-Babylonian Empire’s marvelous wealth. The shapes coated with a golden shine rise to divine heights with invincible might. Successful campaigns, prospering commerce and extraordinary architectural masterpieces accompany the authority of the great empire. Nabucodonosor’s admiration for magnificence manifests in tenderly occupying, melted gold streams that celebrate his divine annunciations.
MM Babylon's Gold - 100x64 cm
MM Babylon's Gold - 160x140 cm
The uniqueness of the composition lies within the resonance of its opening and closure. From the infinite, sky-blue mass framing the canvas, a net of matrix-like lines proceed to the center, symbolising the uncreated divine power’s transcendental knowledge. The ancient cities, kings, institutions have all been in existence in the skies, their earthly imaging is the gift of gods. The heavy golden mass, beaming through from the background, almost bursts the painting into flames with its shine sculptured to a symmetrical form. We are looking at the Ishtar Gate, the gate of the fertility god. The doors are made of enameled golden bricks, embellished with images of Babylonian gods. The golden horizon stretching below marks the path of religious ceremonies. The intensifying darkness of the deep blue belt occupying the below third of the canvas visualises goddess Istar’s wrath against Gilgamesh, and it is also a reference to her journey to the underworld.
MM Gate of Istar - 120x120 cm
At the top of the piece ‘Hammurabi's Stele’ the silhouette of a celestial choir unfolds. Shamash, the Semitic Sun god, sends his rules and commands towards the skies to be burnt into the clouds forever, thus fulfilling the Holy Trinity of ‘the way and the truth and the life’. The orders of Shamash is inherited by The Babylonian ruler, Hammurabi, who then molds the sky-written kanon into unified, secular law. From the background, rich with light and dark clusters, excited forces swirl out as they revolt against the material and moral laws. However, the crimson beam splitting the canvas appears as a sign of warning: the codification makes no exceptions. The painter on the diptych also summons the image of the stele, that is, the column of the code of laws, reviving the scene of receiving the scrolls on the upper part, and emphasising the eternity of laws set to stone on the below.
MM Hammurabi's Stele - 100x54 + 45x54 cm
The composition titled ‘Nabucodonosor’ enchants the viewer with its intense range of colors. The artwork rich with symbols is an extensive overview of historical times. On the left side of the frame a head shape unfolds which has a dualistic meaning: it is the characteristic profile of Nabucodonosor, but it is also a motif for prophetic dreams. Besides being a conqueror, the Babylonian king was also a thinker: he tirelessly sought the future of his kingdom and used his gained knowledge to make divine annunciations. The artist displays the trine of revelations in turquoise, and uses the turquoise shape in the middle of the frame as an equivalent to the dream that was interpreted by prophet Daniel. The dream is a prediction 2600 years in the future, where the fate of mankind’s history is revealed by a colossus. The golden head of the colossus stands for the prosperous empire of Nabucodonosor and its pedestal is made of iron, mud and clay - visualised with dark shades - as a reference for today. The interpretation of Nabucodonosor’s dreams cannot escape the flow of time: the proud golden head falls to the ground and turns to dust in the end.
MM Nabucodonosor - 120x120 cm
MM Nabucodonosor 50x50 cm
With this painting, the artist narrates the demise of the Assyrian city, with a composition unfolding from a maze of precious objects. The forceful lines crossing the golden inlays formulate the enormous gate structure surrounding the city, the gold mass stands for the sanctuary of Ishtar and, within, the red rectangle is the altar. The darker tones of the artwork warn for the words of Jonah: Nineveh cannot avoid its destiny, it’s strong walls will fall during its siege.
MM Walls of Ninive - 80x65 cm
MM Walls of Ninive - 100x80 cm
In the center of the frame we can see the beautiful face of Queen Sheba unfolding. The spring water of the Garden of Eden sparkles in turquoise as it bursts out of the crimson textures as a geyser, forming the outlines of Queen Sheba’s mesmerizing glance. Her silky hair is being caressed into gentle waves by the breezy greens of nature, her honest lips are ignited red by Solomon’s true love. In the right side of the painting, the blueish contours imply an oval shape, a shape that's inviting depth symbolises the gates of purification and wisdom. The golden stairs leading to the entrance of the temple bear a double meaning: for one, it outlines the seven-lamp candelabrum, but it also stands for the road that leads to fulfillment. According to the legend, Queen Sheba, bowing before the wisdom of Solomon, finds redemption in faith.
MM Queen of Sheba - 115x200 cm
The unique expressive power of the composition stems from the golden lane that constitutes the frame’s axis; a symbol for one of ancient Mesopotamia’s rivers, the Tigris. The artist narrates the poetic beauty of its birth by expanding the magical sparkles on the right throughout the canvas. The golden stardust lighting up the frame represents the creative will that calls the Tigris to life, then, with its extended march, it leads the river through its path. With the shadowed areas the artist signals the cycle of great changes and a neverending succession of dynasties. The weight of the dark mess is diluted by the myriad of colors accompanying the river. The golden stream of the Tigris, however, is getting thinner, and its hasty flow heavier, from the sediment of great ages. The pristine beauty of the river is conserved in time as a life force of the Garden of Eden.
MM Tigris - 75x150 cm
After having a look at the ‘Sanctuary in Nippur’, it’s immediately visible that the arrangement of the lines, breaking down the painting to segments, resemble characters from Sumerian cuneiform. Thus, the artist, composing with this special method, evokes the Tummal Inscription: The writing that lists the names of the rulers that built the temples dedicated to Enlil within Nippur and temples of Ninlil in Tummal and the legends and religious cults of the Sumerians. The shine of the golden figure expanding in a multitude of colors throughout the frame is emphasised further by the insertion of fragmented, silver shapes. The abstraction also embodies the structural arrangement of the ziggurats: the terraced compound leading to the sanctuary. The center of energy is the crimson square, which symbolises, again, the altar.
MM Sanctuary in Nippur - 50x50 cm