The Art of Wall Gazing (from exhibition book)
Essay by Christine Boyanoski
Wall Gazing represents the emergence of a new form of expression in Dimitri Papatheodorou’s artwork, which has evolved gradually out of his architectural paintings, hand-built sculpture and personal narrative. The large painted structures bring together his numerous creative activities as architect, painter and sculptor. (He is also a singer-songwriter and teacher.) The artist describes the process in the Notes which follow this essay.
This exhibition demonstrates the interrelatedness of Papatheodorou’s work across different media, with architecture as the point of reference. Dimitri chose architecture as a profession, but he has been painting ever since graduating from architecture school in the 1980s. His approach to architecture has been described as pictorial rather than structural by Luigi Ferrara, Director of the Institute without Boundaries at George Brown College, and a friend and former colleague of the artist. Papatheodorou’s is an alternative approach, in which he first imagines places in his mind as if they were paintings, draws or paints them, and only then, translates them into plans and sections. The result of this approach, writes Ferrara, are spaces that are memorable, sensorial and archetypal.*
The paintings which encircle the gallery clearly reference architecture, but these are imaginary spaces whose only partial illumination heightens their enigmatic quality. These pictures are about light. After all, it is light that gives definition to architecture, and here it is provided only in measured quantities. What, we might ask, is our relationship to the space? What kind of space is this—thick-walled and pitch-dark except for shafts of dazzling light streaming through small apertures? These pictures convey a strong sense of confinement—the windows are impassable or well beyond our reach—like the interior of a medieval tower.
Equally enigmatic are the two large paintings which anticipate Wall Gazing in scale and formal content. In these illusory spaces, solid forms are blurred by the light, an effect achieved by the many layers of thin, semi-transparent oil glazes that the artist has patiently applied. Papatheodorou upholds the Renaissance concept of illusionism, in which the picture plane is a window through which to see another reality. (The picture is constructed on the basis of the individual viewer’s fixed position directly in front of it. ) He plays with this reality, leading viewers to question it. He also invokes Plato’s Allegory of the Cavewhich probes the nature of reality. This parable teaches that what most of us comprehend about the material world are merely shadows of the Truth. The artist explains that we can’t know the truth, just as we cannot stare directly at the sun. We need the Cave (architecture, walls) for protection against the Truth which can also be threatening. Light can be taken in only as shadows, or, in terms of his paintings, as shafts or portions of light.
The small painted sculptures capture the spirit of the paintings: they are arrangements of flat and slightly curved planes which set up interesting plays of light and shadow. Light passes through narrow slits and openings. Many resemble imaginary buildings; those with stacked chambers recall architect Moshe Safdie’s Habitat, erected for Expo 67 in Montreal. Small and brightly coloured, many of these sculptures have a playful quality that is absent from the paintings. Their warm matte finish and hand-crafted quality invite our touch.
In the process of expansion from small maquette to the full-blown forms of Wall Gazing, the project underwent a conceptual transformation, opening it up to a number of interpretations. The analogues provided by the artist give us some insight into his thought processes. Seen from the side, the single form takes on more human proportions, and has multiplied to form a row of slightly differentiated units. These could be human surrogates, relating to each other in different ways (face to face, back to front). I am reminded of Antony Gormley’s work, Allotment II, 1996, an installation of three hundred life-size elements made of reinforced concrete. Their dimensions were derived from those of the local inhabitants of Malmö, Sweden (aged 1.5 to 80 years). The visitor moves among the vaguely humanoid forms, relating more to some than to others.
Wall Gazingcomprises five imposing structures each seven feet high, with either U- or L-shaped footprints measuring two feet by four feet. At first, they confront visitors, dominating the space and requiring a physical response. We are forced to go between or around them to explore more of the gallery space. Through this interaction, the visitor comes to appreciate their sculptural properties, akin to the reduced and repetitive forms of Minimalist sculpture of the 1960s. However, Papatheodorou’s forms have richly textured, hand-painted surfaces, unlike the sleek industrialized objects of Donald Judd and his contemporaries, which rejected signs of human agency. We need to move through and around them in order to understand the piece, which cannot be fully comprehended from one single vantage point.
The painted surfaces become walls that symbolically carry their history on their faces through the layers of shapes and colours that the artist has painted over, then selectively sanded to hint at what lies beneath. The Roman walls that Papatheodorou admired as a student were witnesses to both beauty and atrocity. The now familiar apertures punched here and there through solid walls allow light to enter the spaces in between, while offering glimpses of what lies beyond. Each unit is a temporary sheltering place through or around which the world can be partially seen, and we can move freely in and out of these symbolic caves. For Papatheodorou, Wall Gazingis a permeable wall in which we can see more or less, depending on where we are at any given time.
Papatheodorou gives careful consideration to the viewers who experience his work: how we understand the world through our physical being—sight, touch, and movement. In this exhibition, the artist provides a space for visitors to contemplate their individual realities and to invoke personal memories as they perform the passage through Wall Gazing.
* Luigi Ferrara, “Inside the Painting,” in Dimitri Papatheodorou: Painting, Architecture & Song, (Toronto, Institute without Boundaries, 2010), p.81.