Δικαιοσύνη

Mylona employed thick, uniform letterforms with tightly packed cross-hatching to simulate three-dimensionality on paper. Each stroke is deliberate, avoiding fluidity in favor of geometric rigidity. The absence of color or decorative elements directs attention to the letter shapes’ spatial occupation. The technique mimics industrial modeling, treating ink as if it were carved stone or cast metal, reinforcing the transition from drawing to planned sculpture.

This drawing is part of a larger body of work developed between 1983 and 1986, during which Mylona refined proposals for public sculptures based on ethical keywords. Two of these concepts—Love and Justice—were later realized in isometric letterform installations at the Museum of Contemporary Art in Thessaloniki. The drawing serves as a critical step in that process, documenting the evolution from concept to built environment.

Mylona’s work emerged during a period of renewed interest in conceptual art and language-based practices in Greece, following years of political repression. Her focus on foundational societal values coincided with broader cultural efforts to rebuild public discourse. By translating abstract ideals into visual form, she contributed to a post-dictatorship dialogue on ethics, identity, and civic space.

The drawing remains a key reference in understanding Mylona’s contribution to Greek conceptual art. Her approach of treating words as architectural elements influenced later public art projects that integrate text into urban environments. Though few of her proposed sculptures were realized, this work exemplifies a quiet but persistent effort to make moral language visible and enduring in physical space.