A Greek of the diaspora, Philolaos settled in Paris after the war. His liberation from the academic spirit of the Athens School of Fine Arts is obvious even in his earliest work, despite the fact he was still working in the field of representation; he soon consolidated his quests and advanced on to abstraction. The result was compositions based on geometric forms or, in certain cases, on expression by means of non-figurative shapes, in which the figurative elements are limited to a completely schematic rendition. A chance event at the end of the Fifties, when he was trying to give form to a work in iron, revealed to him a physical tendency of the material to undergo centrifugal divergence, leading him to the utilization and the combination of the diagonal with the vertical axis. Thus, using stone, wood, lead, iron and, above all, stainless steel and beton lave, he made compositions such as “The Prow”, which are balanced on vertical and inclined levels, while at the same creating the impression of a potentially revolving movement.