A Conversation with Konstantinos Papadoukas, on the occasion of his solo exhibition SACRED SPACES at Uni.Versus Art Room. Interview and English translation by Niki Stylianou.

Konstantine, I understand that you’re highly creative and multifaceted. You have diverse interests, that you skillfully balance and integrate them. Could you briefly share what you’ve been up to lately?

First of all, thank you for the “multi-faceted”! Mostly, I design. I believe that the process of designing is what ties together all my endeavors, whether artistic or educational. This may involve activities such as writing, gathering visual material, and, of course, sketching or drawing with my recently acquired pens! Alongside this ongoing design exploration, I teach, and I make sure to allocate time for traveling.

In this exhibition, it’s evident that you work across a broad spectrum of materials and scales. Could you share a few words about the motivation behind expressing yourself in such multidimensional ways? Do you believe that the diversity of media you utilize enriches your work, deepening its impact? Or do you find it instrumental in expressing your passion and weaving it into a cohesive narrative?

The reasons behind the diversity of dimensions and materials in my work can be attributed to two main factors.

Firstly, it’s about communicating the idea or concept effectively with the audience. Certain materials lend themselves well to storytelling due to their immediacy of creation, while others contribute depth through meticulous planning and execution. For instance, creating a large-scale sculpture often demands extensive study, planning, and contemplation, which in turn shapes and refines the underlying concept.

In my view, materials serve as a vehicle for transmitting the artist’s idea, much like words convey the thoughts of a writer. Depending on the desired style, technique, or perspective, an artist may adapt or change their choice of material, akin to how a writer selects the form of poetry or prose to best express their narrative.

As I often tell my students, we don’t search for materials to discover the idea later; rather, we seek the material that can most accurately convey our intended message.

The second reason for the diversity of scales and materials in my work is purely my personal need for continual technical, conceptual, and emotional growth

On a conceptual level, what are the themes that haunt you (if you’ll allow me such an exaggerated expression)?

Since the beginning of my artistic journey, I’ve been preoccupied with the social references and ethical dilemmas of our evolving era. While these concerns may shift in response to current events (such as fires or pandemics), themes revolving around transitions between states have remained constant. These transitions can encompass tangible concepts like the interplay between internal and external realms, as well as more abstract notions such as time, before, or after.

So, my recent work, since the onset of the pandemic, has revolved around the themes of restriction and freedom. These are two concepts that can inter-change depending on the context, and the lines between them may become blurred. For instance, Nietzsche posited that spiritual growth occurs through isolation and introspection – leading to personal freedom, a notion that contrasts with Aristotle’s perspective on isolation.

The pieces showcased in the exhibition oscillate between these two states, portraying both moments of tranquility and confinement.

Are your “sacred spaces” personal symbols? Or do they refer to collective archetypes?

They are symbols that constitute a blend of personal emotional motifs, such as the female body, the seed, and the plant, which are associated with the concept of birth and the cycle of life. Additionally, I use as personal motifs, compositions of architectural elements like staircases or arches, which symbolize growth, evolution, and support. The selection of these symbols undoubtedly reflects personal experiences and memories, which, in line with Nietzsche’s perspective on isolation, may have surfaced during this COVID-19 period.

The audience’s interpretation and decoding of these symbols can vary, as the effects of isolation differ from person to person, and our individual experiences are diverse.

What role does jewelry play in this context? Is it the starting point or a branch of your exploration? How does it intersect with your research and artistic body of work?

As I previously mentioned regarding the importance of conveying ideas to the audience, the choice of medium, material, and dimension can vary significantly.

For me, jewelry represents a form of small-scale sculptural work. I believe this offers two key advantages. Firstly, being worn on the body allows the artwork to transcend the confines of a specific space, potentially reaching a larger and perhaps unprepared audience. Secondly, and perhaps more importantly, it transforms the viewing experience into something tangible, immediate, and familiar. The viewer becomes an integral part of the artwork, moving beyond the role of the distant observer.

So, what role does a piece of jewelry worn by an observed body, play for you?

To clarify more: when it comes to the transmission of the idea or emotion to the audience, the choice of the scale of the work is equally important as the choice of its material or its title. This does not mean that a large scale is always the best choice. A sculpture may keep the viewer at a distance, like a sign that says “do not touch,” while jewelry, on the contrary, will bring the viewer into direct contact and interaction with the work. Of course, there are cases where a work must stand equal to the viewer or even embrace them, as an installation in space does.

You teach art. As an educator, do you find inspiration in a specific era, artistic movement, or individual artwork? Additionally, could you mention some artists who have significantly influenced your work?

As the concepts and symbols in my work evolve, so do the artists and movements that influence either its aesthetics or its conceptual aspects. Undoubtedly, the surrealist architectural spaces of Giorgio de Chirico, along with the anthropomorphic and introspective works of Anthony Gormley, have served as cornerstones in my recent creations. Additionally, references to Arte Povera and Luciano Fabro, as well as the direct symbolism of Yves Klein from the New Realism movement, have also left their mark on my work

Konstantinos Papadoukas is a Greek artist who resides and works in Athens. After training on Fine Art sculpture in the United Kingdom at Wimbledon College of Art (UAL) and Loughborough University, he embarked on his own sculpture practice. Parallel to his own practice Konstantinos is a Sculpture Professor at Vakalo College of Art & Design (Derby University) as well as Head of the Arts at CGS World School.