The interior - Introduction

          Then, I faced the walls with stone and painted the rooms according to the atmosphere of the theme. In the end, I placed the wax effigies in their predetermined positions.
The only composition which is one piece, down from the floor up to the cement roof, is the complex in openings composition of 'Pindos'.
          My benchmark is always the Man. I used harmonious speech according to the theme and occasion. In some themes, I increased the Order and reduced Complexity or vice versa so as to find the golden rule.  In this way, I maintained unity in variety. I also respected the inner relation between matter and form as well as the one between form and content.
My main objective is to serve the visitor - viewer who walks touches and makes small and big steps down. I want them to move around at ease. You see, each visitor compares his body with the rooms, corridors, rocks, mountains etc. subjectively. This means they have quality as an external measure with which they draw the scale of the work they see by themselves. I maintain the reference measures to the human scale cautiously.
          The objective space and the subjective one around us work together. The former is determined by measurable dimensions. The latter is perceived differently by each one of us. At this point I make the space bigger without changing its morphology. I am careful not to make the space out of scale or theme. For instance, the stones with which I have built the prison walls on the inside and outside look larger in comparison to the small ones high up the room or down on the floor.
As you have read in my introduction, the interior of the museum is constructed in such a way that it functions as a museum only, for these particular themes.
          The twelve years of work is quite a lot of time, as I got started at the age of 60 and faced many difficulties such as weather conditions, financial problems, artistic consciousness -artistry and perfectionism- which led me to this point. A piece of work like this never ends. I feel I stopped at the right point.
          What I did, as a historical and artistic education is a contribution, even a small one, to my home country. It is the past, and without the past there is no love for the History of this place.

Pavlos Vrellis, a sculptor
Bizani, Ioannina, winter of 1994/5