Glyn Hughes 1931 - 2014

41 These were mainly much more abstract works, most of which completely abstract, which express mental and emotional situations. 49 Both Hughes and Savva were constantly informed about international developments in art, and their concern in relation to what was going on in the international arena persisted. The use of new materials, the overthrow of traditional techniques and means and the conceptual aspect of art were a few of the issues with which they were concerned. They were also particularly interested in the personality and work of Marcel Duchamp. In one of their excursions, Savva found in a barn two similar objects (perhaps being part of an old donkey saddle). One had the shape of a 17th century pistol. As Glyn remembers: Savva placed it on a wooden base, resting on two nails, and called it Revolution . I asked him whether he was prepared to sign it and he did so reluctantly. It was interesting that he did because he thereby provoked an inside turbulence. The action gave rise to a readymade. Savva was not ready to be content with this alone and he had to complement this with a picture that was executed the same evening. Seeing the result the other day in his studio, I came to realize that our synergy was pushing things in the right direction. Savva produced a highly personal and emotional picture using the second object to complement the readymade. He called it Ayios Theodoros Η ΕΠΑΝΑΣΤΑΣΙΣ ΜΟΥ [= MY REVOLUTION ]. The painting was dark and dramatic as if shooting oneself straight to one’s insides pushing the truth in white to go round in a vicious circle... spiritual and existential... and it was made I believe as a direct result of having placed himself into the historically significant position of signing a readymade. 50 The tangible results of this close interaction between the two artists can be seen in a pair of works, which evolved around a shared visual experience, both of which are entitled The Athlete . In the mid of May 1962, they arrived at Ayios Theodoros village, where they noticed that there were games being held at the school. Hughes was inspired to work on a painting with sand and paint at lunchtime. The picture was figurative. Savva saw it and in the evening at his studio he worked on a totally abstract picture with sand, ‘saccules’ (sacks) and paint. He called it The Athlete as well and this fact triggered a lively and inspired conversation between them. Hughes had seen the actual athlete but Savva had only seen Hughes’ painting. As Hughes evocatively states: “They were such conversations that reminded us of university lunches and gave meaning and value to our relationship at a very personal level.” 51 As it seems, May 1963 was a turning point in their close and distinctive relationship. Hughes recalls: I remember throwing a small piece of ‘sacculla’ (sack) to him. It had a black circle on it that I made right there. Although he used it, he said to me firmly that the period of the ‘sacculles’ (sacks) is over and that he was already somewhere else. He put it in my bag so I would remember the end of that. 52 In July 1963, Christoforos Savva visited Israel and the famous Kibbutz Ein Harod, which houses one of Israel’s largest art museums. At that time, he began to correspond with Christine