Born in Zakynthos in 1975, he studied in the Athens School of Arts (1994-1999) under professor Chronis Botsoglou. He graduated with honours. He continued his studies on a Master's level with a scholarship given by the Alexander Onassis Foundation, at Middlesex University in London (2001-2002). Plessas has taken part in many group exhibitions and works of his have been procured by museums and private collections both in Greece and abroad. He lives and works in Zakynthos.
- 2008 Human relations, Krypti Cultural Center, Zakynthos
- 2006 Prosopa (Faces), Arts Space 24, Athens
- 2005 Prosopa, Hellenic Centre, London
Painter of the Month
The painter for the month May is Kostas Plessas. Plessas was born in Zakynthos in 1975. He studied painting in the Athens School of Arts (1994-1999) under professor Chronis Botsoglou. He completed his Master's in London's Middlesex University (2001-2002).
He has taken part in many group exhibitions both in Greece and the United Kingdom such as ''4 glances'' in the Bilieto publications' gallery in Paiania, in the ''Seventh Meeting of Artists'' in Didymoteicho (2000), ''Disco'' in the Quays Arts Center of Isle of Whight (2003), in ''Urban Arts'' in Brixton London, in the Fine Rooms of the Royal Academy of Arts of London (2004), and ''60 years after'' in the Athens Municipality Arts Center (2005), in the 5th Art Festival for Human Rights in the Cheap Art Gallery in Athens (2006), ''The Kypseli (beehive) of Artists in the Kypseli's old market in Athens (2007).
He has done two solo exhibitions with a series ''Prosopa' '(faces) at the Hellenic Centre of London and the Art Gallery ''24'' in Athens correspondingly.
I would say, Plessas expresses and defends with his work a representational, figurative painting. This doesn't mean that he applies the principles and regulations of the exact representation by life. He moves between two major tendencies in art; pop art and critical realism, using frugal means such as black and coloured pencils or
He focuses on faces, depicting their features with an implacable directness that merely touches crudeness, showing the peculiar schizoid nature of man, through the peculiar asymmetry of their two sides.
He attempts to conceive stereotypical, televisionary reproduced scenes of human relations within the mass society of consumption, by interpositioning phrases and cliche-symbols, such as the playboy bunny or the banal expression ''be cool''. He directs an ''Annunciation'' with the singer Madonna in Virgin Mary's role and a ''Crucifixion'' that takes place on an electric chair. He transforms familiar grims into unfamiliar grimaces, bringing back in memory the grotesque figures from ''Dolce Vita'' of Federico Fellini.
In this way, he adds up an intense dramaticality in his forms that has nothing to do with the dramatic way of their depiction, uses iconographic elements without a trace of descriptiveness, marks out the quality characteristics of his style and at the same time he strips his human figures from the stereotypes that compose the standardized image of themselves. Through these contradictions he projects man as a painful, tender and inexorably cruel presence, that can be offered for multiple interpretations.
* Published on Sunday neswpaper 'Avgi' on May 6th, 2007.
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