The ecological consciousness of the artist is occupied by various extensions, with the primary one being the religious one. Kaiserlis, on the one hand, is sad and mourns for the daily deterioration of nature, and on the other hand, he is subconsciously constantly seeking the meanings of “Divine Providence”, or in other words, that plan of the Creator who (will) direct all earthly activities, so that the universal balance is not disturbed forever. After all, the religious ideal follows the inspiration of the artist, sometimes openly, and sometimes secretly, covertly, to a point that is only implied if the viewers-readers themselves have similar experiences and cultural perceptions. For example, the signifier and signified of the Bible inside the gondola – sign of salvation of the civilization of the Universe – dynamically highlights the mature religious thought of Kaiserlis. The same is found in the signifier and signified of the Cross, regardless of the form it may take each time (Greek, Latin, etc). The Cross, a symbol of Divine Passion, characterizes Christian art from its beginnings, as confirmed by archaeological excavations in the Catacombs of the Italian peninsula.
Human activity is considered by the artist as a process that causes gradually irreparable damage to the natural environment. The urban landscape often violates the rules of nature, wastes its resources, and ultimately, inadvertently creates concrete places of falsification of man himself, and not places of development of the spirit. Man does not respect that ancient and personified figure of Mother Nature, whom from the beginning of his course and evolution in any geocultural environment he began to worship, paying maximum tribute to Ηer. This personification is not accidental. On the contrary, it emerges from the bosom of the artist's psychosynthesis, and in a sense is connected with the memories of him from his place of origin, a place rich in cultural monuments of Antiquity and Byzantium. Therefore, the ancient inscription from Lefkopetra of Imathia, with a direct reference to Nature-Gaia-Mother of the Gods, is engraved in the innermost world of Kaiserlis as a proof of respect for the natural environment, even in the light of another cultural reality, different from the Christian.
Kaiserlis creates from nothing. He deeply believes in the birth of ideas from the ruins, from the gloomy, from where apparently there is no light, movement, life. Venice is transformed in the mind of the artist into a new (Fourth) Rome. This is a thought that intrigues and concerns us creatively.
PhDC, Archaeologist – Art Historian, Curator & Director
(Hellenic Ministry of Culture, Archaeologists – Art Historians)