The Pantheon gallery invited seven artists to portray the artistic movement of eroticism, via contemporary art. The exhibition took place in November 2002.

Ahmad Aicha

I do not understand why we have so many taboos about eroticism. After all it is the source of life itself.

Christalla Kyriacou

When we dream we wake to have very faint understanding of what we saw in our dream, and as we feel that because we were not physically involved in the waking hours of the day we seem to have a passive judgment that our dreams are not really significant. Elusive dream is the exploration into the unknown world of dreams, the inability to grasp when we wake what we dreamt. The photographs represent odd and unnatural representation of the human figure; distortion is the main element of representation. The shape and the forms that the naked figures take in the photographs is left up to the viewer to interpret, as the way we individually interpret our dreams.

Glyn Hughes

I have realized that whenever I erase an erotic motif another one crops up. Yet when I try consciously I cannot quite get it right. Its like trying to catch life itself I suppose.

Vicky Pericleous

This work moves within a post-modern context. It uses references and notions from the modernist era (especially, those related with suprematism, colour-field painting, action-painting and minimalism) and combines them with materials and objects from mass production and culture; this, is an attempt to ‘re- approach’ and ‘re-invent’ the ‘surface’, a notion – quality that modernist art explored and exhausted, within its context. The work has no intention of giving ‘answers’ or to ‘enlighten. The idea of the ‘re-invention of the surface’ is brought about in order for a visual world to be created where the dynamism and the combination of its elements would stimulate, bring together and push forward associations, symbolisms, aesthetic values and semiological reference to do with ‘gendre’ issues and notions of ‘eroticism’. Rather than appearing dogmatic, descriptive or illustrative it wishes to visually explore and softly initiate questions according to the ‘grey’ areas and stereotypes of the above issues.

Orthodoxia Constandinou

A person’s gaze acquires a certain ‘importance’ at a time where we have lost the ability to experience something directly. The ‘Here and Now’ as Roland Barthes stated in his essay ‘Luminous Booth’.The sense of sight: result of daily is infiltration; it is overestimated and simultaneously downgraded. It is dependent and yet it is a prisoner of society and of the masses. Gazes begin to lose their innocence. Eroticism becomes spontaneous. It is confused, dismembered and restructured.
An audiovisual installation raises a series of questions around the importance of imagery and our relationship with it.

Haris Pelapaissiotis

The history of photography represents the history of the image; a significant space within which concepts, ideas and perceptions are defined, through formalization, as a unique formation of relationships.
My approach to photography represents an interest in the way we perceive the photographic image and its physical relationship within space as object.

Kallis Kyriakos

The symbols and archetypal forms that I use in my sculpture are re-activated and predetermined with in a contemporary world perspective. To do this I recompose for the purpose of developing or engaging with new roles and meanings, remould, defying or redefining older values.

In this way I express my feelings:

My rage, despair, anxiety, censure, sarcasm, and my doubts about the attempt to confront the iniquities of current civilization against life, love, the environment and universal equilibrium.