Kamares. Carving for the civilization evidence.
A Basswood on a Pinewood geographical map on a flat Metal Ronde-Bosse.
All connected by Biscuit Dowels. 
This figurine is On a  (25X20 x20 cm) dimension. 100 % Handmade with a superior quality.

As the Grey Wood Gallery Standards require, In this sculpture The artist used different wood machines, for cutting and wood restoration- this to enhance the finished product quality  (Like sanding - Mini Angle grinding - mini router - lathe) to ease access to (the inaccessible details ).

WOOD LOVERS in this unique Artistic Work, may see 2 main colors:
DEEP ACRYLIC GOLDEN powder allover the artifact. Giving a Golden color sensation - as a primative color To reach The Statutory message that the Artist wish to reveal, And Original Irish Wax + Clear Teak oil to Protect wood substructure.

In the circumspection of the sculpture, Wood Lovers can spot easily
from the Bottom to the Top:
1) Wood commitment Title of the Artifact: ''Carving For Civilization evidence''.
2) Geographical Map : Natural Stone Added to.
3) Kamares Aqueduct, ως Καμάρες / الحنــــايـــا
4) Wood plank on top : Timber that is flat, rectangular with parallel faces that are higher and longer than wide. Used primarily in carpentry,  construction of ships, houses, bridges, and Big structure engineering.

The 4 elements Above were combined in 1 figurine to create a perception
Of a '' Stop Motion Scene # A Kinetic Scene ''  - All in a Wooden artifact.
Getting A close view of this Artistic impressive piece, audience of this Artifact can definetly paraphrase that the unsteadiness / instability of these Ruins are INTENTIONALLY MADE = (DESTROYED- DISRUPTED - DISCOMPOSURED).

The Artist says upon Disturbance Intentionalism's  theory in the Fine-Art: 
(Rigorous and ponctilious explanation associated with artwork interpretation)
He intentionally, Disorganizes / Jumbles these 4 Elements
to reflect the Disruption of this natural kinetic scene.

He says - From the The artist prospective- He wished to locate his meaningful message behind this Artistic discomposition:
# Kamares. I Carve for civilization evidence #.

Into the other, Artist dole-out his message as follow:
< I'am Not an Archaeologist. So I' am Not A GOLD DIGGER, Neither a Metal Detector Hobbyist ! Unfortunately, There are (A Minority of Archaeologists) Defined as Today's Archaeological looting as the illicit removal of artifacts from an archaeological site. Such looting is the major source of artifacts for the antiquities market. Looting typically involves either the illegal exportation of artifacts from their country of origin or the domestic distribution of looted goods. Looting has been linked to the economic and political stability of the possessing nation, with levels of looting increasing during times of crisis, but it has been known to occur during peacetimes and some looters take part in the practice as a means of income, referred to as subsistence looting. However, looting is also endemic in so-called "archaeological countries" like Greece - Cyprus (MY LITTLE LOVE) !
The Carver says, antiquities Are Art . And I Love Art. My Point of view ... 
WHAT A PHARAOH the Kings of Napata  IS DOING IN FRANCE ?

This impressive piece is a (joker) decoration,
Food and beverage business , Kitchen Dessert Table,
Floral Arrangements spaces, Gift Table and dining rooms , 
Backyard Party Decorating, Boho Style Spaces , Private Vintage Decor Library,
Nautical Party spaces, sculpture interior decoration,
Offices, Complex business , Hotels , Educational institutions and many More.

This artifact Is signed by the Artist and the Grey Wood Gallery Workshop.
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