Art's requirements always surpass the logic of social systems due to the consciousness that raises demands to overthrow and surpass the conventional form of living, as a kind of self awareness, that takes away the until then conservative acceptance. This kind of consciousness has an autonomy of sense, of aesthetic character, that is a special form of emotional density, that is not directly, related to ideological schemes or to social categories. It is something independent from what is defined, without though eliminating it; something undefined but existent, hidden in the four cardinal points and in all references in time. This cryptic element in the work of art, always requires a wide knowledge of both its theoretical as well as its empirical framework, in order to achieve its decoding and finally, its interpretation. Each work of art requires its own deciphering mechanisms, that derive from its internal structure, being always unique. However the aesthetic interpretations that derive from it are many, as many, as they are its meanings. In this way, each interpretation is "legalized" by each individual version. The rapport of each spectator is directly proportional to his aesthetic culture...
In the Art School I was fortunate to be a student of the great painter Yannis Moralis. I will not refer here to details concerning the content of his teaching- in the way that I perceived it-, but I will refer to a more general method, or better to those conditions of a vivid and creative atmosphere, which inspired a deep respect in what we were dealing with. In other words, I would say that this teaching intended to create a density of notions, of what we call "quality of the painting surface"-the unique and precious element in the beginning of every artist's career-, or what defines the ethics and style of it. The apprenticeship did not regard only, the treatment of the medium and the ways to master it. Through a clear and methodical speech, that led us to a persistent observation of the elements of the language of painting, we could decipher the essence ofan internal harmony in the composition, due to the mystical rhythms of those shapes that with their particularity of form, suddenly revealed magic spaces. The same effect was observed in the "alchemistic" proportion of color, in tenderly composed entities, the substance of which was determined from unseen transformations of their temperature, their extent and their schematic character.
Painting is a mystical area, the charm of which both in exercise and communication, requires an initiation. In the painting surface, there is through its history, a continuous transformation, the internal structure of which is determined from the inherent laws that constitute its integrity and purpose. These transformations, even though not always obvious, do not cease to exist at large in the process of a huge, persistent and copious work.

The painting surface is not of course contented in the visual order. I would say that it further relates to a composition where the density of meanings and the elements of universality, constitute its content. I believe that in a large part of contemporary painting, the antithesis of the particular elements that would result in the creation of a whole was absent, while there was a predominance of loose presentations that finally resulted to their simulation. In other words, there was a mechanical addition of elements, that were composed, based on a flat logic, without any emotional or mental procedure involved. This cold presentation of compositions, being unable to insert a purpose in the work of art, ends fatefully in monochrome and consequently, is named as a painting of the "avant-garde". The "International Klein Blue" had its own place in a museum, since everyone could assert that it was Klein that used it first. This kind of ready harmony, of a convenient subversion to surface, where the aesthetic preoccupation has vanished in favour of an emptiness of sense, could not protect the work of art from becoming a commercial spectacle. There are no molecules rising from the painting surface, deriving from an unsearched and mystical world, while at the same time the knowledge of techniques or the treatment of materials is apparently unnecessary. The abandonment of "technique" was necessary in order to keep a form of expresive "purity" and spontaneity. De Chirico in his "Memoirs" refers to the loss of technique as "the unique cause for the decline of painting". Painting consists of a net, a texture of wisely combined layers of paint, that one could compare with these old oriental rugs. How many know today of this wise combination of layers of color? "Painting has been ruined" J. Clair.said, " those who paint today are solitary by force ".