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Pavlos (Dionysopoulos) (1930 Filiatra)
In 1947 he relocated to Athens and, from 1949 to 1953, he studied at the Athens School of Fine Arts. In 1954, on a scholarship by the French State, he went to Paris for the first time and stayed there for one year, attending courses at the Academy Grande Chaumiere. During that same year, he travelled to Spain, the Netherlands and Germany. Upon returning to Greece in 1955, he worked in advertising and the theater, creating numerous sets. In 1958, on a scholarship by the Greek State Scholarships Foundation, he went back to Paris, where he settled permanently and opened up a studio. Whil in the French capital, he became acquainted with many important artists, such as Raymond Hains, César, Giacometti, Calder, Dubuffet and Pierre Restany.
In 1964, he presented his first solo exhibition at Gallery J in Paris, which was followed by numerous solo shows in several countries around Europe, Greece and the United States. Retrospective presentations of his work were organized in 1972 at the Kunstverein in Hannover and in 1997 at the Athens School of Fine Arts (at “The Factory”). He participated in numerous group and international exhibitions, including, among others, several Paris Salons, the Alexandria Biennale of 1958, the Paris Biennale of 1965 and 1978, the Venice Biennale of 1980 and Europalia of 1982.
Pavlos employs concepts of new realism and pop art in his work. By assembling paper strips cut out from posters and metal wire, he creates characteristic compositions featuring ties, jackets, coats and shirts hanging on chairs, racks or on the wall, curtains, trees, pillars and still lifes, landscapes, seascapes and fields, where initial impression and end result depend on the color play and the way in which the material is glued together. In similar ways, he has also created environments, while his artistic activity also includes two happenings.
Using advertising posters, colored paper sheets and wire as his main materials, Pavlos reconstructs objects of everyday life, clothes, still lifes, trees. Boxed inside cases made of perspex, these objects, imitations and counterfeits of the real, toys and games, acquire a museum-like character, poised as both valuable and mocking at the same time. They are provoking to the eye with their bright colors and the integrity of their construction; they are provoking to the mind as rags and trash of day-to-day life take center stage; they are mocking the community of consumerism and toy with the concepts of the hilarious, the unnecessary and the precious.
A work of art? A decorative object? A functional object? What is the difference between the actual and its reproduction? When does something become valuable? When is something cheap, worthless? What is unique? What is industrial? Do objects imply human presence or do they cancel it out? These are some of the questions raised by the works of Pavlos. Without magniloquence. Simply toying with reality.

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