Pierre Diamantopoulo has two distinct strands to his figurative style. They seem to be intellectually and emotionally worlds apart, but they share the same impetus.
One is a cool and measured response to a profound sense of unrest. In this work, figures fly in defiance or are challenged by their environments. They ‘trippingly’ negotiate upheaval or uncertainties — each work is a balancing act, a metaphor for a precarious state of living or existence. Androgynous and anonymous human figures tilt and fall away – on and off objects that also teeter on a chaotic or shifting stage. Figures may be set free against strongly convergent lines, shapes and forms.
The other strand of Pierre Diamantopoulo’s practice is ambiguous, allegorical and atavistic, but still concerned with mercurial forces. Here, he works on impulse— mixing dark foolery, the poetic and the literary with theatre and folklore— blended with a sort of logical nonsense. This may be a voyage into the past, personal or absurd, diverted by the raw and primitive, with the wit, the mimic and maverick on board. These works are often executed with an immediate, freer hand, exploiting the texture of the raw material.
- Beaux Arts – Bath
- The Jerram Gallery – Sherborne
- Courcoux & Courcoux – Stockbridge
- The Grove Hotel – Watford
- The Gallery in Cork Street
- Henley Festival
- Hove Plinth – Hove, East Sussex
- Middlesbrough College – West Entrance
- Tees Valley Regeneration Project
- Peggy Guggenheim Collection – Venice
- Metal-Cast Sculpture
- Metal-Fabricated Sculpture
- Paintings on Canvas
- Paintings on Paper
There are two distinct strands to my figurative style. They seem to be intellectually and emotionally worlds apart, but they share the same impetus.