"I like to look at progress through the magnifying glass of ethics. Science and morality are for me two inseparable concepts. This is where my genesis comes from, my inspiration in that future that never came and the golden moment of research in the fifties and sixties, an attractive universe of truncated perspectives. The fascination with scientific progress, the confidence that it would be able to solve any problem. A falsely futuristic landscape that flew over the desires of a few generations"
Adamo Dimitriadis on the exhibition Memories of the Future, 11/01/2017.

Painting has seduced him since he was a child, but it would be a visit to a René Magritte exhibition, already in his twenties, that determined his vocation. He had just finished his Design studies. Those were beginnings close to pop surrealism.

Since 2014 it has evolved towards scientific realism. Science and morality are two inseparable concepts in his work. Progress heard from the magnifying glass of ethics. That perfect future always shadowed by threat, scientific advances diverted towards ends other than human benefit. From here draws its genesis, inspired by The Future That Never Came and the fascination with science in the 1950s and 1960s, an attractive universe of truncated perspectives that mixes with personal elegance in a conceptual palette from which science fiction stands out. , brutalist architecture and industrial photography, as paradigms of modernity.

Adamo Dimitriadis recreates the dark side of scientific progress with the unreal perception of a technicolor dream. His oil paintings radiate a tense happiness, as if going from joy to catastrophe were a matter of time. They narrate a sweet disenchantment in a past future, a message that he sprinkles with irony to introduce his denunciation of the misuse of scientific progress, which he has transferred so many examples to the present.

“Children no longer want to be astronauts and scientists, but rather soccer players,” he summarizes in an evocation. He remembers from his earliest years the industrial architecture and the scientific illustrations that he browsed in the books of his father, a Greek engineer living in Spain. The atom, a constant symbol in his work, awakened in him a still unresolved curiosity in those years, perhaps the result of the quintessence of the concept: its mysterious indefinition.