Invited by AHEPA N.York (American Hellenic Educational Progressive Association) and EMBCA (East Mediterranean Business Cultural Alliance), Xaris Apergi presented the “IMPACT OF ANCIENT HELLENIC CULTURE IN MODERN JEWELRY DESIGN”, an event where she introduced the ‘Poetic Phalanx’, a jewellery collection inspired by her goal to create a philhellenic fund for the repatriation of Hellenic antiquities worldwide. Xaris Apergi designed an army of shields, all of them fighting for this noble cause.

The event was introduced by the President of AHEPA New York Mr Louis Katsos and its tickets were sold out from the very beginning.

Poetic Phalanx

We present you the epilogue of this speech as a homage to the Greek language which is promoted by Xaris Apergi via jewellery design.


My encomium to the protagonists of the Hellenic diaspora: archons, politicians, hyperatlantic metics, autochthon Hellenes of the magical megalopolis of New York, I emphasize that with your patriotism, generosity, philanthropy and donations, you are a luminous paradigm to us all, in an aeon characterized by technological antagonism, amphibology, biased cosmotheories, hypocrisy, hyperbolical narcissism, xenophobia and the ego-centrical symptom of general apathy.

The tragic and carastrophic miasma of our pathogenic ethnic economical crisis has perplexed, tyrannized, traumatized and stigmatized us all, encysting us in an asphyctic atmosphere; it did make us stoic though, periodically  satirical, austere and hilariously autosarcastic. It did not, however, petrify us, make us cynical, hysterical, nor sterilize our horizon. Ironically enough, its disastrous toxical aboulia, aenigmatically metabolized into an unparalleled idealism, anodynously anchoring us to a new ego-ideal of ethos and praxis.

As an architect, I fanatically categorized myself as a practical and orthological technocrat, bibliovore and eccentric polymath; my academic polytechnical schooling so far, has been a synergy of mechanics, aesthetics, geometry, graphics, mathematics and ergonomics, yet, magically enough, a flaming amorphous mass of new ideas, sporadically and stalactically affiliated in me, as a gigantic diastole to my scope; my idealistic idiosynchrasy, endogenous morpholatry , physical dexterities and pathos for music, poetry, etymology of the Hellenic syllable, botany, athletics and gymnastics, philology, calligraphy, new technologies and Hellenic archaeology, mysteriously instilled a new philosophy in me as if being generated by an archaic code, drastically sophisticating my prism, isomerically magnetizing all in an exotic choreography!

My eureka! Being autonomous, I enthusiastically ostrasized myself into the oneiric sphere of my encephalic adytum, as a mystagogy  in a state of hypnosis, where I zealously and methodically philtered, scholastically ierarchized and systematically mixed all my daemons and passions into one homogenous hybrid. New morphologies that were analyzed and synthesized into an idiomorphous kaleidoscopic pandaemonium, dynamically generated a new syntax in my dialect, as an antidote to the cacophony of this period in Hellenic history. Periodically and on hebdomadal basis, I energetically practised my ideas, instinctively and anonymously for over a decade, like an acrobat cycling over chaotic abyss, in a tantalizing labyrinth of problems, agony and dilemma. Yet, despite all my skepticism, they were all panygyrically baptized in the ethereal halo of my Hellenic endemic pathos for Metron, Rythm, Lyricism and Harmony.

The phantasmagoric metamorphosis of these theoretical ideas into schematic hologram morphems with plasticity and authentic Hellenic aura, has been crystallized in the photographic panorama that dynamically stands like a polychromatic plinth, a monolithic meteorite, a magical elixir, a spondee on the antipode of all exogenous syndromes, political sepsis, paradox, ethical anarchy and general pathogeny of our epoch.

My eulogy to you all, for your philoxenia; if I could cauterize canonicity and drastically become a strategic catalyst to the emblematic genesis of a new organization under the aegis of the AHEPA, which would systematize the orchestration of a philellenic center for the repatriation of our phaenomenal archaeological thesaurus, our patrimony dispersed  in the museums of all cosmopolitan centers, then this would extatically unite us all, in an apogee of eudaemonia.

Epitomizing all synoptically, I evangelize – this being not a pompous rhetoric, a demagogic apophthegm, a paranoid axiom or an anachronistic theoretical stereotype- that an acme of an Hellenic Palingenesis is neither a colossal chimera with an air of utopic phantasy, but a triumphant melodious hymn.

This is my ode to the meraki and the philotimo of the Hellenic psyche.


Xaris Apergi, N. York, April 2019