Η Επιστροφή της Άσωτης Μητέρας -3-

Mylona employs a rapid, sketch-like application of graphite, allowing lines to intersect and overlap. The uneven, hurried marks generate a sense of movement despite the static pose of the subjects. This approach reflects her broader experimental practice, using the immediacy of drawing to explore texture, form, and the provisional nature of visual ideas.

Educated at the Athens School of Fine Arts under the guidance of Michael Tombros, Mylona later opened a studio in Paris during the 1960s, where she refined her avant‑garde methods. The drawing entered the Museum of Ethnography’s collection, where it remains part of the institution’s holdings of modern Greek art.

The piece emerges from a period when Greek artists were increasingly engaging with international modernist trends while retaining local cultural references. Mylona’s work reflects this synthesis, combining the disciplined training of the Athens academy with the freer, experimental atmosphere of 1960s Paris, situating the drawing within a broader dialogue of post‑war artistic exploration.