lace installations

The column, 2015 Plaster, crochet, acrylic on wood 120x18x74cm The column, 2015 Plaster, crochet, acrylic on wood 120x18x74cm

The column, 2015,  Plaster, crochet, acrylic on wood,  220x18x74cm

Dionisis gives a second life to pieces of old wooden furniture collected from the streets of Athens and covers them with white embroidered crochet and white plaster, redefining their structure, function and aesthetics. These constructions dominate the architectural element and geometrical forms where simplicity, purity and abstraction come together with beautification and lyricism.

The aesthetic effect of both whitewashed architecture of Charles Eduard Jeanneret, known as Le Corbusier, and the architecture of the Cyclades, which has inspired not only the Swiss architect but also Greek artists like Chryssa (Cycladic Books) is evident in Christofilogiannis’ work.

Somebody, 2015 Plaster, crochet, acrylic on wood and bricks 30x24x123cm Somebody, 2015 Plaster, crochet, acrylic on wood and bricks 30x24x123cm

Somebody, 2015, Plaster, crochet, acrylic on wood and bricks, 30x24x123cm

“Somebody” sculpture recall “personnages”, Bourgeois’ totemic wood and bronze pieces from the 40s. Dionisis’ share obsessive processing of the past and exorcism functions as springboard to many other issues lodged in Dionisis’ consciousness: femininity, self-image, sexuality, mortality.

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Something, 2015, Plaster, crochet, acrylic on wood, 120x18x74cm

the window_dionisis_christofilogiannis (back) the window_dionisis_christofilogiannis (front)

The window, 2015, Plaster, crochet, acrylic on wood, 170x18x130cm

Ο Χριστοφιλογιάννης επαναχρησιμοποιεί άχρηστα κομμάτια παλιών ξύλινων επίπλων και όχι μόνο, τα οποία ο ίδιος έχει συλλέξει από τους δρόμους της Αθήνας, και τα καλύπτει με λευκό κεντητό βελονάκι και λευκό γύψο. Η εγκατάσταση του Διονύση Χριστοφιλογιάννη, έχει έμμεση αναφορά στον λευκό μοντερνισμό του Λε Κορμπυζιέ, αλλα και στην τέχνη και στον πολιτισμό της Μεσογείου, αποτελεί ένα σχόλιο για τη σύγχρονη κοινωνική, οικονομική και πολιτική συνθήκη, όπου το δικαίωμα στην κατοικία, ένα από τα θεμελιώδη ανθρώπινα δικαιώματα, βρίσκεται υπό διαρκή αμφισβήτηση. Η καθαρότητα του λευκού και ο εξαγνισμός των βρώμικων αντικειμένων επαναπροσδιορίζονται με την νέα τους καθαρότητα, δομή και λειτουργία. Οι διαστάσεις των γλυπτών διαφοροποιήται από τον αριθμό των στοιχείων, την καινοτομία, την έκπληξη, τον συμβολισμό, την αμφιβολία και το διφορούμενο. Η μορφή και το περιεχόμενο αυτών των έργων είναι εκφράσεις της δομής της ίδιας της ζωής, όπου φύση και οργανισμοί είναι πολύπλοκοι και έχουν αντιφάσεις. Ομοίως, η αρχιτεκτονική είναι πολύπλοκη και αντιφατική, βασίζεται στην πληθωρικότητα και το διφορούμενο της σύγχρονης ζωής και της πρακτικής εμπειρίας της τέχνης.

Abracadabra, door lace , 2014, Dionisis Christofilogiannis

Abracadabra, lace door, 2014, Dionisis Christofilogiannis Geometrical signs, signal flags from the International Code of Signals (Naval Alphabet), used by ships the world around assigned on the lace installation. Christofilogiannis ‘tailors” the gate of the Sachtureion mansion with traditional lace casting his uber-handcrafted abracadabra (in Aramaic: I create as I speak) for Hydra School Projects .

Ephemeral Sculptures: download pdf for more info here. Dionisis’s practice has explored the boundaries of visual language, working in the realm of abstraction to investigate the freedom and limits of physical space using ordinary found objects and covering them with lace. He creates ephemeral forms of sculptures from the same pieces related to other forms of sculptures or architectural designs like the Cyclades male player* and the Burj Arab Hotel**. Though Dionisis’s work began in painting, the artist has increasingly experimented with the perimeters of spatial abstraction. Today, Dionisis’s developed practice comprises of sculptural works that maintain painterly gesture and movement, discarding the brush and using space as a canvas.

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somethings, found wood on lace, 2015

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Sex is forbidden in the Oval Office, 100x150cm, Engraving on Plexiglas with Led Light Installation, 2014

Ionic Lace Installation, wallpaper 338x225cm

Doric Lace, 338x225cm, wallpaper installation at Bhive for ATHESNSYN, 2014

 

A lace pattern, 100x100cm paper, Dionisis Christofilogiannis, 2014   jhgjhg

“A”, lace, pattern and sound installation, 100x100cm, paper160gr, mp3 00:20:00, Dionisis Christofilogiannis, 2014

Dionisis Christofilogiannis – an artist who constantly displays how manual dexterity in the actual making of an artwork can be the vehicle of significant intellectual ramifications, in this artwork retraces his memories. The excitement of Dionisis’s imagination during his childhood years, with his maturity now attempts to connect the patterns of his mother’s lace with his voice. The fragments of his memory made him read the black and white squares on the “crochet paper”, filled and empty squares that make a sound. The lace pattern used was the letter A, as an evidence of a starting point of his past. A derivation of this familiar and yet at the same time strikingly beautiful technique in the making of the lace, he now connects it, using his own lace pattern of the letter A and asking his mother to reproduce the old traditional lace.

Centre-back No5, lace installation shirt, 2014, Dionisis Christofilogiannis    Centre-back No5, lace installation shirt, 2014, Dionisis Christofilogiannis

Centre-back No5, lace installation shirt, 2014, Dionisis Christofilogiannis sleeping car, Dionisis Christofilogiannis,Romanian and Greek embroidery, 2010

Sleeping Car, lace installation on “smart” car    for more info please see the pdf file: sleeping car

Samuel Johnson once said that ‘Nature has given women so much power that the law has wisely given them very little’. This work (my mother’s crochet) talks about a more basic kind of power: power over men. Gently with the embroidery as a female symbol, this car (a man’s world) is covered completely. It is a protest against forgetting and the need of contemporary art to be reinterpreted from the old myths and the archetypes of art hidden within labor, repetition, concentration.

elgreco lace

El Greco lace installation

Dionisis Christofilogiannis    sailing chair

Floating chair lace installation

Ο Διονύσης Χριστοφιλογιάννης, ένας καλλιτέχνης που κατ’ εξακολούθηση υποδεικνύει πως οι εξαιρετικές χειρωνακτικές ικανότατες , μπορούν να φορτίζονται με εξίσου σημαντικές πνευματικές προεκτάσεις στην παρούσα έκθεση ανατρέχει στην προγονική κουνιστή καρέκλα, που για χρόνια υπήρχε στη σοφίτα του πατρικού του σπιτιού, πριν ακόμα ο ίδιος γεννηθεί, Τα ίχνη της καταγωγής αυτού του οικείου αλλά ταυτόχρονα τόσο άγνωστου αντικειμένου, που διέγειρε τη φαντασία του στα παιδικά του χρόνια, επιχειρεί σε ώριμη πια ηλικία να συνδέσει, προσαρμόζοντας τα θραύσματα μνήμης, με μία παραδοσιακή δαντέλα, που έχει πλέξει η μητέρα του,  χαρακτηριστικό εργόχειρο πολλών Ελληνίδων γυναικών περασμένων δεκαετιών. Dionisis Christofilogiannis – an artist who constantly displays how manual dexterity in the actual making of an artwork can be the vehicle of significant intellectual ramifications, in the current exhibition retraces the ancestral rocking chair. One that existed in the attic of his parental home, even before he himself was born. The derivation of this familiar and yet at the same time strikingly unknown object, one that excited Dionisis’ imagination during his childhood years, he now in maturity attempts to connect, using all related fragments of his memory, to traditional lace. A piece of lace woven by his mother, a characteristic handiwork of many Greek women of the past. (fragment from text by Nicos Charalambidis)

stepladder    stepladder   stepladder

stepladder in white, 2014

sitting up

Upseat lace installation

Identities, Dionisis Christofilogiannis

Identities lace on clay

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