In Nikola Bliatkas work nature and its elements are evident and familiar in his research within the artistic field. Their transformations each and every time acquire vivid enouncements from which the artist concludes to unique creating procedures and results.
History, memory and lack of it, also its tribute on today are evident, supporting axis in his work. Paradise, the enclosed garden with all sorts of creatures, plants and trees, holding prominent position in these syntheses, provides the opportunity to unfold images with characteristics that reveal a deep knowledge of alter civilizations and different eras in History of Art. The artist uses Far East, Medieval and Byzantine images to elaborate in a contemporary way an ideological content.
Plants exist through the artist, birds within non-space and non-time restless in their apparent calmness waiting to be abolished. Idyllic parts of the brain are attributed through their reflections on water; cool ground parts in colored variations debate with golden-covered visions of paradise as light (gold leaf) as well as symbols like the tree of life from different civilizations, by projecting notions of beauty and structured order.
Everything above are abolished by a non-shaped metallic graphic style, operating as a cavity; an expressionistic writing over the synthesis covering a part of it. The style here becomes the subject, this manifestation is forcing beauty into retreat raising questions about the relations between the beautiful and the un-shaped, between random and organized universe.
Boundaries of certainty and pressure are converted into doubt. The question raised: who stained my paradise?  Loss, destruction and retreat; completely humane weaknesses co-exist in Bliatkas large dimensions work; tree parts are attributed in such a way that -very often- they recant any apparent harmony.
Flowers are transformed into red, violent gestures where gradually the transition from light to darkness is evident. Man, with reference to his childhood age tends on escaping to the unknown, a non- existent world, a fantasy cyber-space, just to go on living.

Anna Lekka, during the same period of time (middle gallery level) presents her individual exhibition entitled: ''Sugar, water, apples''. In a feast of vibrant colors, the artist paints internal spaces, of a house, our everyday lives, one might argue as seen from a child. Vivid expressionistic alterations of the houses interior design provide new human-shaped appearances into this soulless world. Closets, couches, bathtubs, kitchens all seem to be dancing in a merry sound, with music straight from children's songs.
The artist through their pictorial depiction gives entity and meaning to every little ''unimportant'' thing which surrounds her.