The seminal book History of the Art of Antiquity (1764) by Johann Joachim Winckelmann, marked a radical shift in the Western world’s perception on ancient Greek art. Its glorification of Classical antiquity sparked off Neoclassicism and irrevocably redefined our conception of our past. Disregarding the fact that ancient Greek and Roman sculptures were originally painted with bright colors, Winckelmann argued that white marble represents the unblemished beauty and absolute truth, influencing a great number of thinkers. From his book, a very controversial phrase is often requoted: “Since white is the color that reflects the most rays of light, and thus is most easily perceived, a beautiful body will be all the more beautiful the whiter it is”.
Dionisios Pappas, with a background in archaeology, often draws images and symbols of classical sculptures in order to challenge modern preconceptions about identity, single principles and centralized ideals that are deeply rooted in our understanding of Ηistory and, by consequence, our view of ourselves and others. Intentionally using paper in his work, he makes a case for a fragile and shattered view of the material body and the self. Familiar images of a glorious past become the ephemeral, dark ruins of today. Pappas’ sculpture Venus (2017) is made from multiple pictures of the face of the Greek Goddess. He decisively opens holes in the face, disturbing its beauty and allowing the viewer to look through and beyond the multi-layered image. As if an image must be pierced in order to reveal a deeper meaning.
The seminal book History of the Art of Antiquity (1764) by Johann Joachim Winckelmann, marked a radical shift in the Western world’s perception on ancient Greek art. Its glorification of Classical antiquity sparked off Neoclassicism and irrevocably redefined our conception of our past. Disregarding the fact that ancient Greek and Roman sculptures were originally painted with bright colors, Winckelmann argued that white marble represents the unblemished beauty and absolute truth, influencing a great number of thinkers. From his book, a very controversial phrase is often requoted: “Since white is the color that reflects the most rays of light, and thus is most easily perceived, a beautiful body will be all the more beautiful the whiter it is”.
Dionisios Pappas, with a background in archaeology, often draws images and symbols of classical sculptures in order to challenge modern preconceptions about identity, single principles and centralized ideals that are deeply rooted in our understanding of Ηistory and, by consequence, our view of ourselves and others. Intentionally using paper in his work, he makes a case for a fragile and shattered view of the material body and the self. Familiar images of a glorious past become the ephemeral, dark ruins of today. Pappas’ sculpture Venus (2017) is made from multiple pictures of the face of the Greek Goddess. He decisively opens holes in the face, disturbing its beauty and allowing the viewer to look through and beyond the multi-layered image. As if an image must be pierced in order to reveal a deeper meaning.