For Aslanidis, it's a figuring of sound - not sound directly, but the fact that sonic waves pass through objects and the atmosphere, revealing both that apparently solid matter is permeable and that the seemingly immaterial atmosphere has a certain weight and density. Sound travels through space, reminding us that our world is traversed by forces that are invisible but not necessarily inaudible to us...
...Aslanidis says that he is painting "sound", which of course puts him in a lineage that starts with Paul Klee's 'In the Style of Bach', 1919 and Wassily Kandinsky's 'Compositions and Improvisations'. But Aslanidis is interested in sound not so much as a principle of composition, but as a principle of anti-composition; that which cuts against any attempt to order or regulate it. But paradoxically he does so through the most rigorous attempt to divide up and section his canvasses, and what he is trying to represent is precisely what crosses this. - Rex Butler, Art Collector (Issue 104)
Achievements in recent years include an 84 sqm wall painting commissioned for Longchamp’s Omotesando boutique in Tokyo (2017), a six month residency at the prestigious ISCP International Studio Program in New York (2016), and a survey exhibition at the Australian Consulate-General of New York (2016). In 2016 Aslanidis also exhibited in Berlin, presenting his sixth collaboration with sound artist Brian May.
Aslanidis is represented in the collections of Queensland Art Gallery of Modern Art, Xavier College, Artbank, The University of Sydney Art Collection, New England Regional Art Gallery, Westmead Children’s Hospital, Melbourne Arts Centre, Bendigo Regional Gallery, Heide Museum of Modern Art Allens Linklaters and numerous private and corporate collections in Australia, Europe and the USA.