text written for the exhibition «Afresh, a new generation of Greek artists» project title «Less and Less Blue»at the National Museum of Contemporary Art (EMST), 2013 Athens

curators: Dafni Vitali – Dafni Dragona – Tina Pandi
In Charles Laughton’s film “The Night of the Hunter” (1955) the bedroom, an otherwise intimate place, is transformed into a suspenseful setting of alertness and fear. The furniture and architectural elements of the room are displayed on the walls as the night light is entering from the windows, forming the shadowy atmosphere of the “unfamiliar”.
The unfamiliar is described as intimate or horrible. It is usually characterized by the uncertainty of what was once familiar and intimate and is now oddly strange. The same film also focuses on the duality of concepts such as the sacred and the profane, transforming the narration of the eternal battle into an allegorical, religious tale.
Based on the psychological profile, defined by the scenographic parts of the film, a room is redesigned where the light, artificially now, implies the introversion of a quiet room to rest. The unemotional and sharp geometric shapes in combination with the fragmented parts of a bed and the typology of 32 human teeth potentially compose the unfamiliar nature of the night and set about the slipping towards intimacy.