Pavlos (Dionyssopoulos)

Pavlos substitutes the brush and paint of the traditional medium of fine art for wall constructions and installations with narrow, machine-cut strips of magazines and posters as their foundation. These affiches massicotées create three-dimensional objects, contemporary still lifes in which the primary technical element is distorted and manipulated into a recognizable form constructed from an almost unrecognizable medium.  

Pavlos maintains that posters, presented in profile, are much more expressive than they are when they are presented in flat form, and it is clear that the accretion of his strips of misprinted magazine pages yields a weight, volume and chromatic and material value that was limited in their previous state. Pavlos' time in Paris, through which he would strike up acquaintances with artists such as Calder, Giacometti and Dubuffet, would undoubtedly place him in the midst of a dialogue involving the use and expression of space, three-dimensionality and texture, as well as industrial mediums.

Within Pavlos' exploration of the facets of abstraction, he would make thematic transitions from a simpler abstraction to a period devoted to the depiction of the object, to the illustration of nature. The present work falls within this phase of Pavlos' aesthetic development. The tiny strips of paper mimic the delicate organic material of nature, with colourful blades of imitation grass populating the plexiglass environment.