Personal exhibition of Konstantinos Patsios announced by Varvara Roza and The Blender Gallery galleries

Varvara Roza Galleries and The Blender Gallery present a major solo exhibition by artist Konstantinos Patsios, entitled “Deep in the forest we meet”. The exhibition runs from June 23 to July 10 at 8 Gallery, 8 Duke Street, St James London.

Patsios’ work is a synthesis of several metaphors from painting, from Conceptual Art and Expressionism to Pop Art, all delivered with playful derision and irony and an invitation to critical discourse. “Deep in the forest we meet” will feature paintings and collages as well as NFTs of the original artwork.

Through a selection of glued works and paintings on canvas, Konstantinos Patsios proves that he constantly evolves his expressive dexterity using a multitude of visual styles and references drawn from the history of art, comics and the contemporary consumerist universe. With pointed narrative compositions that suggest modern palimpsests, he vigorously renders the image’s contemporary deluge of information.

Konstantinos Patsios Never Mind The Marx 2017

His works come from three different periods: the experimentation with noir, where harsh contrasts are softened by the familiarity of his narrative compositions, often accompanied by political allusions; the shift towards color and vivid contrasts where color and collage balance each other, highlighting their multiple protagonists; and finally, the most deliberately garrulous period of comics exploring its relationship – or rivalry – with painting.

Konstantinos Patsios states: “My work is a synthesis of several metaphors from painting, from conceptual art and expressionism to pop art, all delivered with a sense of mockery and irony, and an invitation to discourse. critical. Although they may seem naive at first sight, I think there is a strong underlying political dimension in my images. I use a variety of expressive media, from painting, sculpture and photography to large scale installations. Art and especially the image have their own rules: they go beyond paint, brushes and paper, to constitute a story. Psychoanalysis alone is not enough to interpret an image. A work of art provokes aphorisms and coincidences. It may not in itself be a cause of war, but it will always be a mirror. One of the principles of my work is the synthesis of materials, of nonconcordant data and the realization of an unequivocal picture. Another personal obsession has to do with confusion: sometimes when the narrative tires my viewer, I juxtapose a jumbled jumble to stop thinking and start seeing! I would like my work to form a new field of thought where all contradictions are resolved and where a new type of harmony governs both the visual and the logical!

The final composition is a long and pre-planned process in Patsios’ work – despite the fact that the element of surprise is always present. After having first selected and used materials (postcards, posters) that he himself collected through his quests, experiences and personal travels, he then overpaints them, transmutes them and reconstructs them on canvas, thus transforming painting into a practiced organism. Thus, memory functions both individually and collectively, since by reconstructing his own experiences, the artist creates a new narrative that now concerns collective memory. In a way similar to the mechanism of memory which – sometimes confused, and sometimes with an almost obsessive clarity – brings imprinted images back into the present. We discover in Patsios images, fragments, impressions, colors and messages apparently disparate, but essentially perfectly homogeneous.

Katia Papandreopoulou PhD, art historian, comments: “I discovered the explicit work of Konstantinos during my collaboration with Jason Theophanidis and The Blender Gallery. From the first moment I got acquainted with his works and his artistic work, I was absolutely impressed. His art is a way of envisaging and interpreting life through an enigma of dipoles: male and female, cause and effect, form and content. He manages to convey strong social and political messages through his work in a way that challenges the viewer to decipher the impulses that normalcy does not allow to emerge. I really look forward to working with Konstantinos and showcasing his work in London, a city that is one of the world’s most important centers of contemporary art and a global hub of fine art that will embrace and bring out the best of Konstantinos’ work.

The limits of art seem to preoccupy Patsios mentally, however with his mixed media and the use of history and current events, he proves that art always precedes aphorisms. Through “Deep in the Forest we meet”, Patsios offers humorous choices, provocation and political allusions with balance but also intensity, ensuring that his works are grounded in the present and speak a contemporary language.

One often has the impression that the aesthetics of the postmodern are still active in the work of Konstantinos Patsios, since the questions of identity appropriation – or pluri-identity, or of the opening of artistic quality to all forms of virtual representation , are constantly explored. Through his works, we can hear the agony of homogenization expressed by Guy Debord in the Société du Spectacle, where (exploded) images, sometimes as information or advertising, sometimes as propaganda or a mode of direct consumption of entertainment, belong henceforth to the sphere of representation, whose original unity has however disappeared forever.

The element of challenge is constant, but not obvious, as sexuality is explored to the point where one will maintain an attitude of indifference to how consumer society has over-sexualized individuals over time. Nude models – both realistic from photo clippings and abstract (Moralis) – occasionally emerge in the narrative, provoking the end result. While at other times they dominate and impose themselves on the image. The way gender has been dealt with over time through art is concerning in Patsios’ work, as often only small evidence remains of what was once a gendered body. The portraits he uses testify to a desire to reconnect with the great tradition of painting, but their glory is over. Sometimes recognizable, sometimes willfully anonymous, they abandon their familiar qualities and coexist within a new pop culture. Their colors are bold and they often overlap with the personalities that make them up. In Patsios’ paintings, the multiple subjects, gendered, animate or inanimate, do not overlap and all claim their space. Paraphrasing Roland Barthes, the canvas becomes a multidimensional space where a variety of texts, none of which are original, mix and yet oppose each other. Thus, not only are established idols and hierarchies challenged, but the immediate need for new work is emphasized, while the intensity of the end result is often surprising.

Varvara Roza Founder and CEO of Varvararoza Galleries says: “Konstantinos was the first artist I approached when almost ten years ago The Blender Gallery was born. He participated in our very first exhibition “Moments Of Becoming” in 2013 and since then he has been an indispensable part of our artistic identity as a gallery. Extremely productive and in absolute control of where his artistic practice should take him at every stage of his career, Patsios never ceases to amaze me with complete new art series whose visual language could only be his own. He combines humor and derision with an in-depth knowledge of history and current events, and he always deconstructs while paying homage to the old masters. I think he’s an incredibly talented artist with a great path ahead of him, so I’m always proud and excited to showcase his new work.

Jason Theophanidis, founder and director of The Blender Gallery, says of this new exhibition: “Konstantinos was the first artist I approached when The Blender Gallery was born almost ten years ago. He took part in our first exhibition “Moments Of Becoming” in 2013, and he was an indispensable part of our artistic identity as a gallery. Extremely productive and perfectly in control of where his artistic practice should take him at each stage of his career, Patsios never ceases to amaze me with his art, the visual language of which cannot be other than his own. He combines humor and derision with a deep knowledge of history and current events, and he always deconstructs and simultaneously pays homage to the old masters. I think he’s a genius artist, as are his collectors, so I’m always proud to showcase his new work.

Top Photo Detail: Konstantinos Patsios Albert Never Dances The Blues 2017

Konstantinos Patsios ‘Deep in the forest we meet’ June 21 to July 10, 2022 Varvara Roza Galleries Gallery 8 – 8 Duke Street St. James’s London SW1Y 6BN

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