A sculptor who centered his attention on the human figure, faithful to representation but with a strong tendency toward the schematic and the abstract, Memos Makris studied at the Athens School of Fine Arts, and then attended lessons in the studios of Jean-Paul Laurens and Marcel Gimond in Paris, where he lived for five years, settling in Hungary in 1950. Busts, female figures, nudes, and monuments designed for public spaces, made up the core of his work, which drew elements from both archaic art and his French teachers and, occasionally, abstract and expressionist models.
In 1965 he began working on a number of naked figures. These figures are rendered very schematically, with oval heads and sometimes with the characteristics of their physiognomy simplified, and other times without any characteristics at all, with the bodies all worked the same way, with rounded volumes and elongated forms. The “Spring Dance” follows along these lines, but the abstract rendering is even greater, while the two figures hover in the air in a laudatory dance in honor of spring, recalling scenes from the three Graces in compositions of European art.