Kostas Sahpazis
30 May - 30 Jul 2012
pic 1 Kostas Sahpazis, Untitled, 2012, leather, metal, spray-paint, 120 x 45 x 10 cm (photo: Kostas Sahpazis)
pic 2 Kostas Sahpazis, Red Rate Rapid, 2012, wood, leather (photo: Margarita Myrogianni)
pic 3 Kostas Sahpazis, Second Connection, 2012, neon, steel, leather, plexiglas, dimensions variable (photo: Margarita Myrogianni)
pic 2 Kostas Sahpazis, Red Rate Rapid, 2012, wood, leather (photo: Margarita Myrogianni)
pic 3 Kostas Sahpazis, Second Connection, 2012, neon, steel, leather, plexiglas, dimensions variable (photo: Margarita Myrogianni)
KOSTAS SAHPAZIS
The Gift of Screws
30 May-30 July
Compression and epigrammatical ambush are his aids. Contradiction, ambivalence, incongruity, irregular rhythm, lapse in development, sudden intrusion of an alien idea. Dissonance. And all parts fall into place.
Kostas Sahpazis’ first solo exhibition comprises of 13 new sculptures that let slip the possibilities of material expression. Moody, eloquent and lyrical, his table-top, suspended and wall pieces push forward and are then circling back through persistent ambiguities and irrational arrangements of forms and materials. His idiosyncratic use of leather, fabrics, steel, neon tubes, resins, paper, paint, latex, aluminum is the mainspring for the dialectical process that leads to a series of synecdoches- of the strangest kind.
Here, Emily Dickinson’s verse “the gift of screws” from her 1863 poem Essential Oils is what bundles together the sculptural combines, all titled in-between, before and during their making in a job that is strategic as it is improvisational: Made toMeasure, Vocabulary Builder, Where I Pour My Soup, Red Rate Rapid, Second Connection (all 2012).
How surprising that the word “screw” describing an object so plain and ordinary is also used in various grammatical combinations to denote sanity and insanity, sexual intercourse, salary, swindling among other usages. Kostas Sahpazis’ The Gift of Screws is a reverie objectified: a metonymy for the free fall of materials and their rapid rescue.
Kostas Sahpazis was born in Thessaloniki in 1977. He lives and works in Athens. He studied at the School of Fine Arts, Athens and the Weisensee Kunsthochschule, Berlin. Recent exhibitions include Petrosphere, Glascow International Festival, Abstraction after Abstraction, Greek Art Institute, Athens (curated by Maria Marangou), Sneak Preview, Andreas Melas & Helena Papadopoulos, Athens. Last September he curated The Non-Existent Hand, Hotel Galini, as part of ReMap3, Athens.
The Gift of Screws
30 May-30 July
Compression and epigrammatical ambush are his aids. Contradiction, ambivalence, incongruity, irregular rhythm, lapse in development, sudden intrusion of an alien idea. Dissonance. And all parts fall into place.
Kostas Sahpazis’ first solo exhibition comprises of 13 new sculptures that let slip the possibilities of material expression. Moody, eloquent and lyrical, his table-top, suspended and wall pieces push forward and are then circling back through persistent ambiguities and irrational arrangements of forms and materials. His idiosyncratic use of leather, fabrics, steel, neon tubes, resins, paper, paint, latex, aluminum is the mainspring for the dialectical process that leads to a series of synecdoches- of the strangest kind.
Here, Emily Dickinson’s verse “the gift of screws” from her 1863 poem Essential Oils is what bundles together the sculptural combines, all titled in-between, before and during their making in a job that is strategic as it is improvisational: Made toMeasure, Vocabulary Builder, Where I Pour My Soup, Red Rate Rapid, Second Connection (all 2012).
How surprising that the word “screw” describing an object so plain and ordinary is also used in various grammatical combinations to denote sanity and insanity, sexual intercourse, salary, swindling among other usages. Kostas Sahpazis’ The Gift of Screws is a reverie objectified: a metonymy for the free fall of materials and their rapid rescue.
Kostas Sahpazis was born in Thessaloniki in 1977. He lives and works in Athens. He studied at the School of Fine Arts, Athens and the Weisensee Kunsthochschule, Berlin. Recent exhibitions include Petrosphere, Glascow International Festival, Abstraction after Abstraction, Greek Art Institute, Athens (curated by Maria Marangou), Sneak Preview, Andreas Melas & Helena Papadopoulos, Athens. Last September he curated The Non-Existent Hand, Hotel Galini, as part of ReMap3, Athens.