Paul Giovanopoulos' artwork is defined by complex investigation of simple objects. His original vision involved a carefully composed repetitive grid of panels as the base of a painting. Giovanopoulos then interpreted each panel, transforming the object within through "visual signatures" from art history, cultural icons and concept. In making art this way, he became at once creator, collector and curator of each canvas.
Continuing this idea of transformation, Giovanopoulos has gone on to create large single image paintings that involve a similar thought process. By melding the aforementioned interpretive elements into one visual, he conveys a disconcerting sense of familiar and unknown, anarchy and order. His sense of visual mischief has also led Giovanopoulos to create a series of Group paintings, wherein real people throughout history, be they famous or notorious, celebrated or reviled, are surrealistically combined in one canvas. Intellectually, these groups are impossible, but Giovanopoulos not only makes them work, he makes it all seem perfectly logical. After all, who better to play poker with Ghandi than da Vinci?
Even as his work sometimes borders on chaotic, Giovanopoulos maintains a firm hand on the overall visual rhythm. The paintings combine master draftsmanship with tireless invention in a dry humor that stands back from academic painting and, essentially, draws a mustache on it.
Although the wit in Giovanopoulos' work is sometimes caustic, his use of appropriation is never grim. Rather, it is about the joy of looking, seeing and thinking, and the luxury of many solutions to one problem.
Paul Giovanopoulos' artwork is defined by complex investigation of simple objects. His original vision involved a carefully composed repetitive grid of panels as the base of a painting. Giovanopoulos then interpreted each panel, transforming the object within through "visual signatures" from art history, cultural icons and concept. In making art this way, he became at once creator, collector and curator of each canvas.
