Λεύκωμα Canson με σκίτσα

Mylona employed rapid, fluid linework with minimal detail: circular heads, straight limbs, and no shading. The strokes are loose and unrefined, conveying immediacy rather than finish. The absence of cross-hatching or texture-building techniques underscores the drawing’s function as a private study. Her signature, hastily inscribed in the corner, reinforces the informal, personal nature of the work.

Alex Mylona, born in Athens in 1920, trained at the Athens School of Fine Arts under Michael Tombros before moving to Paris in the 1960s. This sketchbook page originates from her time in the Denfert-Rochereau studio, where drawing served as a continuous, unmediated practice alongside her three-dimensional work. The piece remains undocumented in public collections, suggesting it was retained as part of her personal archive.

In the 1960s and 70s, Mylona’s work aligned with broader European trends favoring process over product, particularly among artists exploring the body and gesture. Her sketchbooks functioned as laboratories for ideas later developed in sculpture. This drawing, like others in the series, reflects a quiet resistance to polished finish, valuing the raw trace of thought over formal completion.

Though not widely exhibited, *Λεύκωμα Canson με σκίτσα* exemplifies Mylona’s commitment to drawing as an autonomous practice. It contributes to a growing recognition of her sketchbooks as vital records of her artistic thinking, revealing how her sculptural concerns—weight, suspension, form—were first explored in intimate, ephemeral studies.