THEO CHRONIS (°1981, ATHENS, GREECE) IS AN ARTIST WHO WORKS IN A VARIETY OF MEDIA.
WITH A DISTINCTIVE BODY OF WORK, FUSING TRADITIONALLY OPPOSING TECHNIQUES AND APPROACHES, CHRONIS UTILIZES A DIVERSE RANGE OF FAMILIAR AND UNFAMILIAR ELEMENTS TO construct UNPRECEDENTED images of SITUATIONS. PERCEPTIONS, WORLDS AND FACTS. 
BY EXAMINING AMBIGUITY AND ORIGINATION VIA fusion of contrasts, RETAKES AND VARIATIONS, HE APPROACHES A WIDE SCALE OF SUBJECTS IN A MULTI-LAYERED WAY.
HE BELIEVES IN THE IDEA OF FUNCTION FOLLOWING FORM IN A WORK and INVOLVES THE VIEWER IN A WAY THAT HE IS CONFRONTED WITH THE CONDITIONING OF HIS OWN PERCEPTION AND CHALLENGED TO RECONSIDER HIS BIASED POSITIONS.
HIS WORKS are a DIRECT RESPONse TO a sense of urgency AND USE EVERYDAY EXPERIENCES FROM THE ARTIST AS A STARTING POINT.
BY REJECTING OBJECTIVE TRUTH AND GLOBAL CULTURAL NARRATIVES, HE ABSORBS THE TRADITION OF MIMESIS INTO DAILY contemporary PRACTICE. THIS PERSONAL FOLLOW-UP, REVIVAL and eclectic synthesis OF PAST TRADITIONS including mannerist representation, sumi-e painting and Ab-ex tropes IS IMPORTANT AS AN ACT OF MEDITATION.
HIS WORKS depict THE HUMAN STRUGGLE EXTENDED BEYOND ITS OWN SUBJECTIVE LIMITS AND OFTEN PRESENT TESTAMENT OF THE EFFECTS OF GLOBAL CULTURAL INTERACTION OVER THE LATTER HALF OF THE TWENTIETH CENTURY. THEY CHALLENGE THE BINARIES BETWEEN SELF AND OTHER, BETWEEN OUR OWN ‘CANNIBAL’ AND ‘CIVILIZED’ SELVES between representation and abstraction, digital and analog, dimensionality and flat surface, internal and external, colour and line.
HIS diverse series of ARTWORKS CONSTANTLY EXPLORE AND "NEGOTIATE" STRUCTURE. THIS RESULTS IN THE FACT THAT THE ARTIST CAN EASILY IMAGINE AN OWN INTERPRETATION WITHOUT BEING HINDERED BY THE HISTORICAL REALITY. BY CONTESTING THE DIVISION BETWEEN THE REALM OF MEMORY AND THE REALM OF EXPERIENCE, HIS WORKS SIMULTANEOUSLY REFERENCE AND CHALLENGE POST-COLONIAL THEORY AS WELL AS THE AVANT-GARDE OR THE POST-MODERN AND THE LEFT-WING DEMOCRATIC MOVEMENTS AS FORMS OF RESISTANCE AGAINST THE LOGIC OF THE CAPITALIST MARKET SYSTEM.
HIS WORK URGE US TO RENEGOTIATE painting -and visual art by extension- AS BEING PART OF A REACTIVE OR – AT TIMES – AUTISTIC MEDIUM, COMMENTING ON OPPRESSING THEMES IN OUR CONTEMPORARY SOCIETY.
BY SUGGESTING THE OMNIPRESENT LINGERING OF A GLOBALIZED CULTURE, HE MAKES WORKS THAT CAN BE SEEN AS SELF-PORTRAITS WHICH, SOMETIMES APPEAR IDIOSYNCRATIC AND QUIRKY, AT OTHER TIMES, TYPICAL BY-PRODUCTS OF CONTEMPORARY SUPERABUNDANCE AND MARKETING.
HIS WORKS DEMONSTRATE A PREOCCUPATION WITH INTIMATIONS OF MORTALITY, A LUSTFUL RELATIONSHIP TO THINGS THAT EXIST, TENSION, CONFLICT OR CURBED DESIRE, IRONY, WIT, PLAY, THE EPHEMERAL AND CHANCE AND ALWAYS CONSIST OF 10% HOPE, TO MAKE THE TRAGIC CONCEPT MORE ENDURABLE.
THEY QUESTION THE COERCIVENESS THAT IS DERIVED FROM THE MORE PROFOUND MEANING AND THE SUPERFICIAL AESTHETIC APPEARANCE OF AN IMAGE. BY appropriating elements from MASS MEDIA, CLASSICAL ART, RELIGION AND OTHER fields, EXAGGERATING CERTAIN OF THEIR FORMAL ASPECTS INHERENT TO OUR CONTEMPORARY SOCIETY, HE TRIES TO INCREASE THE DYNAMIC BETWEEN AUDIENCE AND AUTHOR BY OBJECTIFYING EMOTIONS AND INVESTIGATING THE DUALITY THAT DEVELOPS THROUGH DIFFERENT INTERPRETATIONS.
HIS COLLECTED, ALTERED AND OWN WORKS ARE BEING CONFRONTED AS AESTHETICALLY RESILIENT, THEMATICALLY INTERRELATED MATERIAL FOR MEMORY AND PROJECTION. THE POSSIBLE SEEMS TRUE AND THE TRUTH EXISTS, BUT IT HAS MANY FACES, AS HANNA ARENDT CITES FROM FRANZ KAFKA.
THEO CHRONIS CURRENTLY LIVES AND WORKS IN exeter, UK.