Και αυτό θα περάσει

The Greek title, meaning 'this too will pass,' suggests a meditation on impermanence. Though the drawing’s forms are abstract—squares, rectangles, and semicircles—they evoke enduring symbols rather than literal representations. Mylona did not assign titles until after completion, allowing meaning to emerge from the work’s presence rather than preconceived narrative.

Mylona used precise but deliberately imperfect black lines to map out compositional structures. The drawing’s geometry is deliberate yet human, avoiding mechanical perfection. This approach mirrored her sculptural practice: she favored the natural texture and luminosity of white marble over elaborate carving, letting the material’s inherent qualities guide form.

The drawing originates from a focused period in the early 1980s when Mylona concentrated on marble slabs sourced from the Dionysus quarries near Athens. These studies were never exhibited as finished works but served as direct conduits to her sculptural output, documenting her transition from concept to material realization.

Mylona’s work emerged within a broader post-war Greek artistic movement that valued material authenticity and restraint. Her choice of local marble connected her to the land’s geological and cultural history, distinguishing her from international abstraction by grounding form in regional specificity and tactile honesty.

Though less known internationally, Mylona’s studies and sculptures influenced later Greek artists interested in minimalism and material integrity. Her insistence on marble’s autonomy—rejecting ornamentation in favor of quiet geometry—remains a quiet but persistent reference in contemporary sculptural practice.