This edition was published on the occasion of the homonymous exhibition organized by the Cultural Foundation of the National Bank at the exhibition space of the Eynard Mansion (June 1 to July 30, 2016). Dimosthenis Kokkinidis, a painter of color or otherwise known as a colorist, as he himself feels, believes that drawing is the generator of painting, a primary element capable of transmitting aesthetic and artistic information by itself.

Kokkinidis began painting at the age of 10, while still a student in elementary school, and continued, of course, in high school, creating sketches of his teachers that he gave to all his classmates. In recent years, Kokkinidis has set aside his brushes. However, his research in every corner of his studio has yielded rich fruits: to date, around 2,500 drawings have been found and recorded. Here, works from the last six decades are presented, therefore drawings from all his painting sections as well as from his youth, specifically from the period from 1947, when he finished high school, until 1952, when he left the Athens University of Economics and Business and definitively decided to become a painter.

Thus, many of the drawings he made during his studies at the Athens School of Fine Arts are included, as well as several from those he made during the period of 1952-1958 during his excursions to the countryside. Following are the drawings he made immediately after graduating from the Athens School of Fine Arts, when he traveled to Lesbos in 1958 and to Mount Athos in 1959, studying aspects of popular and Byzantine tradition.

Already towards the end of his studies, in 1957-58, sketches began to appear that would be transformed in his first painting section, "Neighborhoods," where he depicts from memory the refugee houses of pre-war Drapetsona, that is, the neighborhood of his childhood, as well as the Slaughterhouses on Piraeus Street and the shanties along the banks of the Ilissus, near Neos Kosmos. The sketches continue until 1967, inspired by dark pages of history: the assassination of Lambrakis and Kennedy, the "dirty" Vietnam War.

During the period of the dictatorship, he intensifies the social critique he exerts through his painting. In the years of the Metapolitefsi (1974-1981), his works depict the upheavals of the era. He then turns to the poetry of nature, the sea, the landscape of Milos. By the late 1980s, he begins illustrating the Homeric Odyssey, which in various variations will occupy him until 2010. At the same time, he creates a series of works that capture his concerns and sensitivity regarding social and political events.

The research in Kokkinidis's studio is framed by the narration of the artist himself. Revisiting older works after years, Kokkinidis rediscovers and comments on them, talks about his teachers and sources of inspiration, and his memory is literally overwhelmed by faces and events of that time.