— We warn that some scenes of nudity may offend the youngest audience (under the age of 18) —

Pelly Angelopoulou

Belgium / Greece

 

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The Artist

 

The Belgian-Greek artist Pelly Angelopoulou was born in Athens, Greece. She studied painting, art history as well as mosaic at the University of Fine Arts in Athens. Shortly after the end of her stud­ies, she returned to the same University but this time to teach.

At the very beginning of her career, she held two solo exhibitions at the Zygos gallery in Athens with great success. Her art has aroused the interest of a variety of collectors and museums, such as the National Greek Gallery and the Vorres Museum, that have added her works to their collections.
The next step was the beginning of an international career. It was a series of solo exhibitions, organ­ized, in museums in Tokyo, Osaka and Utsunomiya, by the renown publishing group Yomuri ,the patron of the association of the Japanese museums ,in collaboration with the Japanese department of cultural affairs.
Adventurous by nature, she decided to leave Greece, along with all kinds of personal and profes­sional security and stability. She was supposed to live in Japan, but ended up in Brussels.
It was by chance initially, then by choice, because she liked the international character of the city which gave her the opportunity to be in contact with people from all over the world. Based in Brus­sels, she has been artistically active in many countries by having solo exhibitions as well as working on private and public commissions in Belgium, Greece, Germany, France, the Netherlands, the United States and the United Arab Emirates.
While she has enjoyed honours and success, at the same time her career and her life (a female artist's life), have not been so easy. She has faced unfortunate and dispiriting ups and downs. On the other hand  it is the sum of her experiences that have influenced ,shaped and enriched her art and her per­spective on human and social subjects.
In 2008, she held a solo exhibition at the Royal Museum of Art and History at the Cinquantenaire in Brussels, in the room housing the Greek antiquities.
In the same year, her work "crown" was installed in the Vatican.
For a  4 years period, she lived between Brussels and Moscow, at the invitation of the Russian col­lector Ismail Akhmetov. It was a great experience as she had the chance to be in contact with all kinds of people and their life in Moscow, St. Petersburg and in the small towns and villages in the provinces.
She wanted to be informed in depth about the rich Russian cultural heritage in music, theatre, dance, visual arts  to meet and to collaborate with artists. But she also wanted to know the realities of liv­ing and working there.
In Russia she has participated in art projects and exhibitions. In 2012, she participated in the Mo­scow Biennale with her work "Reliquarium", a mixed media installation.
Recently, she is working on commissioned works and at the same time she is creating and exploring new forms of self expression that would help her bring out all her questions and visions on subjects as varied as sexual identity, race, politics, the arts, social classification, the meeting and mixing of cultures, gender, the past and the present eras.
She has also made research  and worked on the social and cultural integration of communities.

Since 2017 she is working in collaboration with the French photographer Axel Leotard on a serie of projects named Π+A . The first  part titled « Souvenir du future «  Has been published June 2021 in a book by The french editions Corridor Elephant.

 
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"Cosmos, The Boat of my Life"- Pelly Angelopoulou

Collage

©Pelly Angelopoulou all rights reserved

 

"Ideological dreams and the cruel reality..."
Mixed Media Mosaic
Pelly Angelopoulou
©Pelly Angelopoulou all rights reserved

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"Symbol of Genders - man on one side, woman on the other"
Mixed Media Sculpture
Pelly Angelopoulou
©Pelly Angelopoulou all rights reserved

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Symbol of genders Man.png

Organizing this new exhibition « L’Âne Rouge » (The Red Donkey ) for The ONE Museum Permanent Artist PELLY ANGELOUPOULOU has been a real challenge !

 

Arthur Rimbaud wrote:

 

« I say you need to be a Seer, make yourself a Seer. The Poet becomes a Seer by a long, immense and reasoned disruption of all the senses. All forms of love, suffering, madness; he searches for himself, he exhausts all the poisons in him, to keep only the very quintessence of them. … »

 

PELLY ANGELOUPOULOU is this SEER, this POET, this wonderful ARTIST.

 

So how to transcribe to an exhibition, and this one in particular, all the lyricism, the wind of truth, the revelation of what we are blind to or fail to perceive in the unfathomable and that Pelly's unique work conveys? This was precisely the challenge.

At The ONE Museum, we listen to the artists, we try to be as close as possible to their concerns, in a word, to understand them and to try, as far as we can, to be faithful to their philosophy. We do our utmost to stage their creative genius, their background and career, their humor - even if it is black - their humanity and their commitment in the most faithful way.

For an exceptional person, because Pelly Angelopoulou is a truly exceptional person, both humanly and creatively (and we will come back to this), the exhibition had to be exceptional in every way! So we have built an exhibition that is tailor-made and beyond measure:

- An exhibition reflecting all aspects of her Work,

- An exhibition of an unprecedented size (over 3200m2)

- A spectacular staging

- A narrative construction in 3 distinct but connected parts:

 

1/ The Obscure Objects of my Desire" - a section devoted to Pelly's Contemporary Art Mosaic which is absolutely remarkable and unique.

Indeed, throughout her career, Pelly Angelopoulou has been able to trace the total and very modern renewal, we could say visionary, of the mosaic, a historical two-dimensional mural art, to take it where no one had yet succeeded in taking it, by making it, tremendously and insanely, a very contemporary, innovative, poetic three-dimensional expression  that virtuously can combine in the same time allegorism, metaphorism, surrealism and hyperrealism which, when you know Pelly's work, is not at all contradictory; in fact, that is exactly its very unique and surprising strength!

Alchemist, here is the completion of the Grand Oeuvre!

First of all, the « Oeuvre au Noir ». Starting from the historical bases of the art of mosaic, having ingested, digested and redirected them, Pelly has been able to transcend the barriers, conventions and prohibitions of tradition, atomizing them to keep only the abaculi, the smallest common denominator of Mosaic, which is nothing in itself but a small piece of insignificant matter, but so precious to the « Oeuvre au Blanc ». Finally, it is the « Oeuvre au Rouge » that she accomplishes, concretizing the union of the signifier and the signified, the reconstruction in embodied construction, that is to say the greatest common denominator, the one of the universal language for all, the one of Art in its total completeness and plenitude, in order to install it in our modern world, preserving at the same time the know-how, the mastery and the sacredness of the original technique, while revolutionizing matter, form and spirit, to end up embodying the feeling and emotion, the dialectic and the philosophy of the Artist-Creator, a sensitive and sensual transcendental messenger, who knows how to touch all subjects without taboos, and move each of us. Magnum Opus !

 

2/ « Souvenirs du Futur, π+A » - This section is devoted to the latest evolution of Pelly Angelopoulou's work, the Collages.

There is no rupture in this work with her previous period on Contemporary Mosaic, as Michael Paroussis rightly analyses. On the contrary, it is a natural and logical evolution. What could be more natural than to take up the image that overwhelms our daily life in the 21st century, an ultra-symptomatic object of our society, its expression and its content, and take it even further? This has precisely been Pelly's artistic approach since his very first Mosaic works. What could be more logical than to see in them archaeological fragments, specific abaculi of our daily life, of its richness, its craziness and all its symptomatology, tiny congruent parts of a Whole so gigantic that we struggle to realize it and that Pelly, extralucid, comes to reveal by their assemblage!

Arthur Rimbaud, himself again, warned us: "And that doesn't mean nothing!

Here is the perfect illustration. We are constantly under the assault of legions of images, so numerous, so crude and vulgar that we end up not looking at them anymore or, at best, looking at them almost indifferently. And yet... If we were more careful, if we took the time to analyze them, extracting the frightening conjectures, the shameful entanglements that they betray! They are terribly revealing!  So Pelly Angelopoulou takes it upon herself to awaken a reaction in us. We will certainly do with it what we want, but at least Pelly will have warned us!

For this purpose, what better 'material' than the photographs of Axel Leotard! Axel Leotard is a particularly intelligent man, and among other things a very talented photographer with a discerning eye, he already knows himself how to detect what many others do not see, a man with a unique past and a life rich in experiences, a sensitive and responsive human being. So when Pelly and Axel met in 2016, it was artistic love at first sight, full of respect and admiration, and it didn't take much more for the two beautiful souls who had become accomplices to see in this meeting, which, as we can understand, never owes anything to chance, the opportunity for a formidable cooperation that would prove to be intellectually and artistically fruitful, to the great delight of art lovers. They will trust each other unfailingly. Axel gives everything, Pelly distinctively assembles.

Axel's unitary elements are like pieces of a puzzle, of which only Pelly knows the final image and the ultimate meaning she will give to her combined choices. Axel knows that he can trust her, that she will never betray his own ideals because they are in fact the same.

This cooperation gives rise to new hyper-contemporary, committed and even militant "mosaics" where tragedy and humor, sometimes very grating, coexist for the better. Pelly's knowledge of mosaics is once again evident here, because collages — an art that we sometimes forget is extremely complicated, hazardous, even lethal if it remains scholastic or amateurish, and even if it is made by well-known artists for other media, it stays often shaky and unconvincing. It is not enough to put words together to write a poem. You have to be willing to say something, something of interest, and you have to know how to say it, at the right time, and say it well. The same is true of images, which can easily fall into a sudden aesthetic peril in their conjunction — which she achieve are implacable both aesthetically, plastically and philosophically. I personally know very few artists, even among the most famous in the world, who have succeeded in this exercise with such brio, verve and panache! Thank you very much to you, Axel Léotard and Pelly Angelopoulou, for your amazing collaboration, we are definitively very grateful for this magnificent lesson of humility and insight that the collection of collages that we present here conveys, it is a great privilege and a real honor!

Thank you both for your trust in The ONE Museum!

 

3/ "Pelly's Little Red Boudoir" – This part of the exhibition is exclusively reserved for The ONE Museum's "Privilege Members », who have registered on the Museum's website (registration is, of course, free since, as always, everything is free at The ONE Museum). For this very special exhibition, all of Pelly's humor and sensuality are expressed in a very cozy place where his works are peacefully displayed in a way that reflects Pelly's natural discretion...

 

 

At the beginning of this introduction to the exhibition, it was said that we would return to the exceptional personality of Pelly Angelopoulou.

I cannot express my immense personal admiration for both the Artist and the Woman.

Pelly is a beautiful soul in every sense of the word!

She is a terribly endearing Woman, true, without artificialities, without detours, with a lot of humor, joy of living and energy. Faithful and very respectful in her friendships, she is also a soul imbued with a deep humility, always available, listening to others and ready to help. Passionate and spontaneously committed to the causes that are dear to her heart, she is also a free person who has been able to go beyond conventions, apriori and prohibitions, becoming indignant and taking action against injustices, fighting with all her strength the preconceived ideas that sclerotize society.

Highly cultured and with an exceptionally rich life, her work brings together all her qualities, resembling her qualities.

Daughter of a minister of the "Colonels' Regime" in Greece, although very young, she did not hesitate to rebel and actively participate in its overthrow. She then chose to leave Greece and never return.

Pelly quickly achieved international artistic success. Her works were acquired internationally by major private collections. Her works are also present in a multitude of national museums. This does not prevent her from dedicating herself in parallel to her career, by choice and commitment, to artistic teaching, she also wants to be able to transmit.

Her character and her commitments also explain why, without fear, and in defiance of the dangers that this could have represented for her promising career, she never hesitates for a moment, after each decisive monographic exhibition within a national museum, to definitively question her work and to take a radical turn in order to take it to new spaces and new challenges. However, at every stage, she is always successful because she is not pretending, she is genuine and passionate; exciting!

To have worked with Pelly for this retrospective show at The ONE Museum was a great joy for me!

I hope the visitors will feel the same energy and heart that Pelly and I have put into giving them a truly exceptional show...

 

Thierry Gulian

Curator of The ONE Museum

"A Word from The ONE Museum Curator"

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23-Artemis and the sacred deer 78x130.jpg

"Artemis and the Sacre" - (1st Milestone)
Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

"Divinity of The Sun" - (3rd Milestone)
Mixed Media Mosaic

Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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Looking back on my career…

«... Looking back to my career, I realise that the evolution of my art has always been based on the search for knowledge and hard work.I have always kept curious and informed about the latest achievements of contemporary art but I have never forced my creation towards anything else but my own artistic queries and personal expression.
I have never been afraid to change personally, humanly, and I am proud of my ability to have always been and remain myself yet today!

The important stages of my career have been four main ones.
 
This importance was in no way related to glamour or financial success but to the encouragement I received at those key moments of my career. Each time they gave me the confidence to break through and experiment towards another direction I was feeling the urge. I have never, never, avoided taking such a risk even if, at the same time, I also had to survive as an artist because being an artist is also a true profession, a very demanding profession… »

Pelly Angelopoulou



 

"Artemis and the Sacre" - (2nd Milestone)
Mixed Media Mosaic - Pelly Angelopoulou
©Pelly Angelopoulou all rights reserved

"Anthologie de l'Humour Noir " - 4th Milestone
Collage

Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

Anthologie de l'humour noir.JPG

"The 4 Main Milestones of Pelly's Carreer"

 
 

"HAVOC 288" - Paula Rosa

Photography / Digital Painting

©Paula Rosa all rights reserved

 

"Stew of Damned" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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Serpent - Solo show at the Royal museum of art and history 4-2.jpg

"Mirrored Mythology"
Mixed Media Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

2nd Milestone: The Royal Museum of Art & History - Brussels - Belgium

«… The second very important milestone for the development of my career was my solo show at The Royal Museum of Art & History - "Museum du Cibinquantenaire" de Brussels, in March 2008.

My works were mostly mixed media mosaics developed by research and wiling not to "create Mosaics" but to create Art using Mosaic as a medium, focusing on the form as a priority.

German art historian and critic, Stefan Skoron, wrote about Pelly : "…Her artworks are all part of a decision on form and aesthetics and confirm the artis's positioning in the present. She connects the present with History and interweaves the two, giving them a new impact. …"

The exhibition was to me a great step and a huge honour that has encouraged and freed my imagination and my creativity.

This done, I felt that one more period of my artistic expression was now sucessfully closed and I had to go ahead again. …»

Pelly Angelopoulou


 

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"The Silver Lake"
Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

The First Milestone : Tokyo and Osaka Museums of Art

«…The first milestone was 30 years ago when 3 solo exhibitions of my work were organized by the Yomiuri Shimbun - Tokyo and Osaka Museums.

It was really a great honour for a young artist because usually those great museums were mainly exhibiting Museum Collections! A lavish 100 pages catalogue was published for this special event.
The artworks I exhibited were all inspired by Greece and Greek Mythology.

The level and success of these exhibitions motivated me to experiment then in new directions without fear.
After these Japanese Museums shows, this period that would be called my “Greek period” was definitely over. I was convinced that I had done the maximum of it... »

Pelly Angelopoulou

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"Le Sphinx du Volcan" -
Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

1 St Milestone

Serpent - Solo show at the Royal museum of art and history 4-2.jpg
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"2nd Milestone"

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"Stew of Damned" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

carcasses #5.jpg
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"The temple of Nature"
Installation -Art Biennial of Moscow - Mixed Media
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

The Third Milestone: The «Russian» Years

«…The third milestone in my career was the ‘Russian’ period. A period of three years during which I created artworks and exhibited in Russia, invited by the Russian collector and sponsor Ismail Ahmetov, who gave me the chance to work on a large scale by providing me with everything necessary for such an attempt.

Being able to test my limits by fully realising my ideas opened up new perspectives for my freedom of expression.

Apart from the practical and promotional aspects best covered by the sponsor, the country itself, the collaboration with young artists and the exchange with the Russian people enriched my imagination and creativity.The beauty of the country and the aura of its capital, Moscow, really enchanted me.
Today, 10 years later, I am still totally in love with these «Russian» works of art and I am proud of them.

For me, another period ended with this experience - and I really thought I had made the most of it. So, as usual, after freeing myself from all kinds of conveniences, requirements and restrictions, I naturally moved on to the fourth period, the most daring one as an artist, being able to express all my concerns about the social and political issues of our time…»

Pelly Angelopoulou

 

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"The Forest"
Mixed Media Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"4th Milestone"

"Blocks of Flesh" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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"Au-delà des Corps "
Collage

Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"L'Epopée des Voyageurs du Fantastique "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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The Fourth Milestone: The Collages: The «Souvenirs du Futur - π + A» Project

«…My latest project is the one that represents me, my ideas and principles, more than any other.
The π + A Project, about humans and life, was born out of an unconventional collaboration with the French photographer Axel Leotard.
As with most artistic collaborations, there is a significant amount of intellectual exchange and influence.

The way I create my work is long and complex.
Photography captures the moment. So even the images of the artworks I use for my compositions are not the artworks themselves, but snapshots of them through photography. Each work is made up of many moments from a non-specific period of time, linking the past to the present.
It is also clear that the images are used as symbols and hieroglyphics, serving the narratives of my thoughts and ideas.
In the images of the work of art I use, each individual part has a strong meaning and symbolism which it retains even when cut from the composition. When they are used to create another image, their original symbolism is altered, influenced by the new context in which they are placed. What is paramount, therefore, is the symbolism of each image and the way in which they co-operate aesthetically and semantically with the other images in the composition. So time doesn’t really matter.
The compositions in the project are not about a specific time period or place, but about the influences and effects that events have had on societies and individuals, and on humans and their lives.
The past and the present coexist to highlight facts which, regardless of time and place, have all been caused by similar motivations, intentions and interests and which have all equally caused suffering, disaster or joy.

This work is mainly political. The collaboration with Axel Leotard was based on the fact that we both share similar principles and values regarding human life, universal human rights and we both feel that they are becoming more relevant than ever.
When we first met in 2016, the financial and social effects of the 2008 crisis were still visible all over the world, while, as we now know, there were considerably more problems to come.
While the subjects are not strictly topical, they maintain a relationship with both the past and the present, as well as with the here, the elsewhere and the everywhere.
As an artist and a sensitive human being, it would not be possible to avoid addressing the political and social issues of our time, such as social hypocrisy and injustice, prejudice, the breakdown of social norms and classifications, gender equality and identity, human sexuality, war, life, death, love, hell and heaven on earth.
Undoubtedly, the intention was not to produce images of dogmatic preaching but to encourage questioning and reflection. Of course, it is sometimes inevitable to be intentionally provocative.

The project was published by Corridor Elephant in a limited edition book entitled Π + A «Memories of the Future»; the very last copies are still available at :
https://www.corridorelephant.com/.../souvenirs-du-futur...…»

Pelly Angelopoulou

 

"Blocks of Flesh" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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"Le Libertinage comme Philosophie "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"Racontez-moi votre vie sexuelle "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"Macrozoom "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"3rd Milestone"

"Pelly Angelopoulou by Michael Parroussis"

"Stew of Damned" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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"Pour voir l'Invisible "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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"Understanding the Power of Insight "
Collage
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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Pelagia Angelopoulou's Collages

 

Herme[neu]tics of the Self

Pelagia Angelopoulou invites us to invent the meaning of a visual composition instead of discovering the artist's semantic intentions. The classical hermeneutic way, which consists of unifying a desire for expression on the part of the creator with a capacity for understanding on the part of the viewer, is totally disrupted in this work, which leads us frame by frame to reconstruct ourselves by the awakening of signifiers that spring from the depth of our conscience or even from our subconscious. The viewer becomes a reader of his own thoughts, excited by a strange and hermetic world presented in this series of collages without departure and final point. One finds himself obliged to delve into the Self to make countless combinations of signs and references. The phenomenology of perception becomes esoteric. It modifies  its character, by departing from the reconstruction of the unity of visual signals, in order to achieve the transformation of intentionality towards a perceptible object to an experience of the inherent forces of being in their movement from within, passing through the prism of the image looked at and returning to the viewer's own thought and sensitivity.

Sometimes the meaning arises more directly, in the form of known faces, of existing figures positioned in a flow of relationships to others, to objects, to environments, to time. The work itself is finally a pure relational structure. It functions on the one hand as a network of internal relational settings and on the other it expresses the external relationality of the artist´s creation to the spectator as the original moment of the discourse we conceive under the notion of Art. Finally there is also to consider seriously an invisible background relation, which represents the level of motions and inspiration, that is located and detected in the artist´s life encounters: Π + Α is a cryptic reference of constitutive importance for the whole series of the photocollages as the true cause for the push towards this medium of expression. It is at the same time the emerging intersubjectivity as Ereignis/event and not as a simple voluntary act. In the process of 'I create' towards 'I express myself' and from there to the Self, found in truth and lost in illusion, interferes the symbol ”+”, the most decisive factor between Π and A. It is necessary to go beyond the subjective to find yourself as a creative identity. The key to the collection is this very sign “+”, which should never be misinterpreted as an additive indicator, but on the contrary as a denominator on the basis of which Π[elagia] communicates with A[xel] during her artistic transformations, always different in expression while remaining the same personality.

What one looks at and sees without initial cognitive penetration is perceived as a series of keys to a mystery to be deciphered. Enigmas to be solved in order to advance towards the sometimes conscious, sometimes subconscious or even unconscious signs of the artist. Between view and vision, there is an endless game, because the rules are not defined in advance, since the signifiers guide each one towards his own signified meanings. Anyway visual communication leads always back to the aesthetic level. If one does not manage to break down the ideograms offered to his intuition, one rejoices in the means of expression themselves, as are the coordinates of form, content, color, expression, localization.

Pelagia's work does not suffer a rupture, as one might first think. Starting from the initial Mosaic work and passing through the intermediate phase of her Anaglyphs, it arrives now to the series of Photaics at hand. What else are pre-cut and fixed images than inter-mixed tesserae to form a complex synthesis? Reorganized in the artist's mind into decomposable syllables and recomposed to form a cryptic message that is announced to the public. If one would like to give a name or description inherent to this creative set I would spontaneously propose the title "True Illusions and Illusory Truths".  Each composition, but also the whole work, puts the viewer in a flow stronger than its resistance force, in consecutive vortexes of excitement at different stages.

The other's enigmaticness returns to the hermeneutic consciousness of the Self and takes shape in a performative way as a visual hermetic synthesis, as a work of art that invites conscious subjects to decompose and recompose its meaning. This procedure charts a path to our inaccessible interiority, far from the usual spontaneous aesthetic or emotional manifestations towards the painting, such as those of acceptance or rejection, of benevolent attitude or closure, finally of the admiration or disappointment. Everywhere arises the relationality as living soul of the artistic event in hand: relation Π+A, relation between the photo-tesserae of each board picture, relation of the boards to each other, relation of the artist to the spectator, relationship of the creator to her Self, relation of the visible to the intelligible, relation of the cognizable to the sensible. The truth of the work thus transposes itself far from its formal and material identity towards its relational functionality, and finally into the flow of signifieds that unite artistic intuition with subjective intentionality.

 

Michael Paroussis

Le Déjeuner sur l'herbe rouge 104X64X4cm.jpg

"Blocks of Flesh" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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"Blocks of Flesh" Series - Vanda Sprengler

©Vanda Sprengler all rights reserved

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"Museums & Private Collections"

"Le déjeuner sur l'Herbe Rouge… "
Mixed Media Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

Le Déjeuner sur l'herbe rouge 104X64X4cm.jpg

Pelagia Angelopoulou's works can be found in museums, in private and public collections as well as in historical monuments in Europe, the United States and Japan.

Some examples are the next:

  • 1-”Theophanu “at St Pantaleon Romanesque Historic Church of the 10th century in Cologne Germany

  • 2- “The wreath” at Vatican next to the tomb of the Pope Jean Paul II

  • 3-”Crowns” inspired from the ancient Greek crowns,at the historic City Hall  of Cologne Germany ,in the Mayor's Office

  • 4-Many artworks like the installation “the temple of nature” and the “reliquary” belong to the Ismail Ahmetov Foundation in Moscow ,Russia

  • 5-”The Spring”  belongs to the publishing group Yomiuri Shimbun

  • 6-“The messenger” belongs to Odakuye museum in Tokyo

  • 7-”Composed Elements “ belongs to the Greek National Gallery in Athens

  • 8- “Island of Hydra” Vorres Museum Athens Greece

"Main Publications"

"Dans le feu des Illusions "
Mixed Media Mosaic
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

Dans le feu des illusions. 125x80x4cm.jpg

Pelagia Angelopoulou's work has been the subject of numerous essays published in newspapers and magazines in Europe, the United States, Japan and the United Arab Emirates.

  • "The Greek Painting, 1966-1986", published by the Greek National Museum of Fine Arts, 1986.

  • Angelopoulou Pelagia: Monograph, "The Modern Greek Mosaic", published by "Yomuri Shimbun", Tokyo, Japan, 1991.

  • "Allotrope Aesthetics" Monograph, (Allotropic Aesthetics), published by the Greek Ministry of Culture, 2004.

  • "Mosaic and Architecture", published by the Achmetov Foundation, Moscow, 2011

  • "Reliquarium", published by "Musivum Gallery", Moscow, 2011.

  • « Souvenirs du futur » Monograph ,published by corridor Elephant ,Paris,France ,2021

"Souvenirs du Futur" THE BOOK
38€ -www.corridorelephany.com
Pelly Angelopoulou ©Pelly Angelopoulou all rights reserved

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