One of the main questions referred to art has always been whether a work of art comments on a fact or it is a fact itself.
In the history of art, many artists and trends supported sometimes the second part of the question. Interesting suggestions were put forward by many artists, starting with Joseph Kosuth up to Francis Bacon respectively or with any discours theorique up to the untitled work by C.Y.Twombl?. These are only some indicative examples. Some other artists, however supported through their work (for instance G. Baselitz) that the above mentioned "theoretical" distinction is not valid, as well as that the two parts of the question co-exist in a work of art itself. Regardless of the different trends, the issue remains crucial.
The recent work by Marilena Zamboura is characterized by the combination and bridging of the two views. The notion of desire keeps pace with the notion of action. The creative surprise of the fruitful paradox is apparent in her work.

From the announcement to the creation
In her paintings at first sight, there is a direct relation between the title and the appearance of the work. This relation no matter how direct it is announced (because of the title) it is practically indirect, since the particularity of her work is in the gap between announcement and creation. What is announced is insinuated sensitively (intuitively) through the tactile function of her works.
We take for example a work titled "Angel warrior".
The word "angel" of the title is stressed with references to symbols. Is there a religious scent here, or a painting illustration of a symbol?
? look at the picture rejects the second assumption, as the work does not illustrate a subject. Thus it is the first assumption, which is more appropriate here.
In this painting, we see a black figure, which could look like the form of an angel. This is the only thing we can thing of, as there is not anything else beside it with familiar visual references. The illustrative reality is fragmented The visual forms are also fragmented The notion of religiousness is not expressed by ritually familiar representation. It is mainly about an atmosphere of synthesis, where the tactility of the picture, the language of the materials and the colours and the whole arrangement of the painting body obey the spirit of creation. The last one is a continuous action disturbing anything static. The endless blue colours, the red colours, the movement of the figures give the impression of ethereal materiality, dematerialize and relieve.

The trip and the gates
They set the presuppositions for an inner trip in the painting, in various levels of the work.
The viewer travels seeking for the different layers of the painting body. Doors open one after the other for him. His aim is to reach the essence, not the "burning" center, but the revelation of the painting. The essence here is the trip, which opens doors, the trip of the revelation.

Revelation and mirror
in other words, the work of art functions as a mirror, which reveals. It reveals the various faces of the work, which at the same time the various faces of the viewer. The "Alter" here is the main presupposition of the mirror, which contributes in the course of the identification of the "Idem", a route of self-knowledge.
Similar thoughts can be made regarding a second painting by Marilena Zamboura titled "The Lake of the wishes". The title makes us again to think of the notion of wish (personal and religious). The rest is up to the visual reality.
? first look gives the impression of a work whose picture looks like a "mussy" piece of paper, touched by a hand It has spoiled its smooth surface. This presence of "hand -hands" makes us think of the act of making-creating (to make something with hands, as making is defined).
Due to this "tactile" crumpling, everything looks as if it has been removed from its logical usual position. It is about the architecture of motion, like an earthquake during which all the bases are agitated and moved.
The "picture" is still there in its agitation. The visual balance is changed. The concept of habit is questioned. "Gates" open; the gates of "self - knowledge". The trip in the work-mirror is at the same time a trip in the viewers self. The activation of self-knowledge is the self-revelation of the "Idem" through the presence of the "Alter" (of the work in this case). This route can perfectly lead to a fruitful lightness, a main presupposition of the conscience disturbance.
Every disturbance of conscience can open the gates of contemplation, for communication with the non -conscience.

Creative Imbalance
it settles the basis of a post-aesthetic art, a sensuous and intellectual art, which keeps a successful balance between the concept of announcement and the concept of creation.
The imbalance at which Marilena Zamboura aims through the visual quality evokes creating results. The material, the forms, the colour, the whole synthesis establish the basis for a continuous transformation.
The lost of familiar standards, the existence of various levels in the paintings, the figurative transparency, a sense of rotation and a coloured lightness contribute to the identification of the painting universe.
The trip to the bottomless profoundness of the colours, the mobility, which attracts, and the emphasis on the dematerialization exhibit the power of a place for self -concentration in the work of art.
From the familiar point of view, the viewer finds himself in the unfamiliar sensitivity of an intellectual revelation. The obligatory reorganization of the traditional aesthetic values leads them to a visual language, which is accurate, flexible and laconic, such as a gesture of creative imbalance. This type of imbalance succeeds to build a bridge between the tactile experience and the multicultural knowledge.