And there I stood, mesmerised, unable to un-lay my eyes off an evocative series of paintings which I am not sure how to interpret. In front of me, a Trilogy in Art Form, spanning from A-to-B in exploring the true meaning of the word ‘origin’ and the essence of being an ‘ABoriginal’. Images emerging from the Greek peninsula diving into Australian landscapes. Stereotypical indigenous figures cuddling with Greek Nymphs, leaving me speechless. All this, fitted into canvases abiding by the laws of cubism and deconstruction, with numerous architectural influences.

When I decided to contact the artist for an interview, I was not expecting to come across someone who had been practicing architecture for 46 years and working as an artist for 38. Vasos Tsesmelis, though, proves he is a restless spirit, an inquisitive artist, unafraid to try new techniques and present works that teeter on the edge of beautiful and strange, whilst making perfect sense.

After his Ned Kelly series, St Kilda West artist Vasos Tsesmelis has painted his trilogy spanning a 30-year period. It started back in 1984, when the artist was searching an article on the origin of the word ‘aborigine’.

“‘Trilogy in Art Form’ happened by accident,” says Vasos Tsesmelis.

“After I had retired from my architectural practice, the secretary at the office rang me to inform me that I had left behind numerous envelopes, filled with drawings in drawers and cupboards. Going through these works, I found the three themes so I decided to paint them on large panels with a few changes, and in some cases with new materials.”

The word is derived from the ancient Pro-Indo-European language, using the Greek alphabet as a basis. It derives from ‘A-B’, the first letters of the Greek alphabet and ‘origin’, a.k.a. the beginning of something, or the coming from a certain place. Aboriginals, are the ‘first people of a region’.

Instinctively and conceptually, Vasos thought of uniting the Aborigines and the Greek Nymphs though a common thread. The first part of the trilogy is therefore called Uniting Two Cultures Through Landscape.

“We are all aware of the Aborigines and their relationship to the Australian landscape, as well as the Greek Nymphs, who were minor goddesses representing different aspects of the landscape such as rivers, ponds, mountains, forests, seas, clouds,” Mr Tsesmelis tells Neos Kosmos.

“This is what inspired me to paint the series.”

The second part of the trilogy is called Modern Women Within Their Preferred Landscape. It was completed around the mid-1990s and it was done as a small study in ink and felt pens on tracing paper.

“I worked with the female figure, but transformed it into abstract or semi-abstract shapes expressed through cubism,” Vasos explains.

In recent years, during and after ending his architectural practice, his love for architectural design and building forms inspired him to paint modern buildings around Melbourne and elsewhere, within the landscape and cityscape. Hence the last part of the trilogy, Modern Buildings In Landscape, which started in 2004, exploring the result of ink, felt pens, coloured pencils and magic markers on tracing paper.

“The intention of this series was to paint everything on large panels, entirely in abstract forms, utilising basic conceptual form or forms of the existing buildings and transforming it the way I want to see it, as I perceive it, not necessarily the way it really is.

“Perceptual, instinctive and conceptual artists often live within their dreams. Maybe I fall within this category. What happens tomorrow is unknown, I live in my dream.”

Years later, the subject matter was expanded to modern women participating in their loved activities in their natural and often fancied landscapes; always based on cubism, using coloured oils with metallic patinas.

“It’s a Cubist series on board, with black and white oils and metallic patinas,” the artist adds.

Vasos is generally distorting these old traditional images to new, more interesting forms, faithful to leaning towards this artistic strategy, rather than to more traditional drawing techniques, presenting a contemporary and futuristic, even body of work. At a young age he found his path and vision that led him far from traditional or classical painting and techniques.

“At the age of 14 I had the special privilege of being taught ‘art’, one-on-one, by an extremely talented art teacher at South Melbourne Technical School, for three years,” Vasos says.

“I developed my skills and techniques, broadened my vision and creativity, while being introduced to Pablo Picasso’s cubism. Reading numerous books on Picasso I also discovered Greek mythology, which Picasso had used as a subject matter from several paintings and etchings.”

As an artist, Vasos claims he strives to depict the abstract world and his thoughts onto tangible but powerful artistic massages, sometimes archetypal.

“I choose to paint both mortal and immortal figures, dismember and transform them into abstract or semi- abstract forms with endless representations, always searching for the most instinctive and conceptual form,” he says.

“I try to create bold and directional works, even to a point where they may be considered shocking or offensive.”

Vasos’ intention is to convey emotions and evoke human instincts with his paintings.

“I find this is a fundamental ‘must’ in any work of art,” he insists.

“That does not mean people need to like it.”

All subjects and matter is of interest to Vasos, but he can’t hide his preference towards Greek mythology, the female body and modern architectural buildings.

“I have painted works on political issues, especially about the ‘Tampa’ throwing children overboard, and boat people as a whole.”

“I have painted themes on migrants, religious matters, general stuff, I’ve done portraits … but my portfolio includes countless works on Australian folklore and Greek mythology.”

Even though he arrived at Station Pier in Melbourne in 1955 with his parents, he feels strongly attached to his Greek heritage.

“I am Greek-born, from the Aegean Island of Samos. I arrived in Melbourne at the age of ten and graduated in architecture at RMIT in 1969, but I don’t forget my Greek identity,” he says.

“Art and architecture have been my life-long passions and are the combined means of expression in my creative endeavours, where my love of Greece holds a prominent place.”

*’Trilogy in Art Form’ will be held at Gallery Without Pier, 320 Bay Road, Cheltenham from 15 Feb – 1 Mar 2015. The opening will take place on 15th Feb 2.00-4.00 pm. For more information e-mail info@withoutpier.com.au or call 9583 7577 / 0419 541 892