Pavlos like the painter Zeuxis
ere apples, figs, grapes, red fruits and hazelnuts compose an appetising autumnal fruit basket. The fruits, balanced precariously in a pile, seem to pour out of the crate. They are made of guillotined paper, a special technique adopted by Pavlos that has virtually become his trademark. Greek like the painter Zeuxis (whose works looked so real, as Pliny the Elder tells us, that birds came to peck at his painted grapes), Pavlos loves life, the spontaneous source of his art, evoking his childhood in Filiatra in the Peloponnese. Pavlos Dionyssopoulos left to study at the Athens school of fine arts. In 1958, he obtained a grant from the Greek government to spend three years in Paris, where he soon began to mingle with the New Realists, and developed a friendship with Raymond Hains in particular, who had a passion for posters. It was possibly Hains who suggested this material to him. Pavlos exhibited guillotined posters at the Salon des Réalités Nouvelles in 1963. As soon as he reached Paris, he was fascinated by the bubbling art scene there. Klein was exhibiting "Le Vide" at Iris Cler,
Pavlos Dionyssopoulos, known as Pavlos (b. 1930), "Corbeille de fruits", 2002. Paper construction in a Plexiglas box, 60 x 60 x 60 cm.
Where ? When ? Who ? Paris- Drouot 26 November Piasa auction house How much ? €15,000/20,000 See the catalogue : www.gazette-drouot.com
and inventing his blue monochrome; a little later, in 1961, an exhibition by Jasper Johns took the artistic milieu by storm, reinforcing Pavlos decision to create non-painted images that were more real than the originals. A genuine poetic language that was very much of his time, when we think of César's compressions and Spoerri's trap pictures. He used whatever was at hand: first magazines, then posters from metro stations, replacing the brush with a Stanley knife and guillotine. He sought to imprint movement and, above all, colour on his work. His first pieces were abstract, with fine strips of coloured paper giving life to the surface. The resulting optical vibration was intense; all of a sudden, reality took shape. Pavlos then found himself half-way between the New Realists and Pop art. Anne Foster
N° 19 I GAZETTE DROUOT INTERNATIONAL