66 cm high x 90 cm wide
Diamantopoulo’s figuration is both an exploration of the human form in its many guises and the conjoining of man, woman and beast.
It takes many shapes and forms whether classical, dynamic, pared down, abstracted or cut very often with subversive wit.
Dancing in the flames of some infernal place, faceless human figures emerge from the raw stuff of life in these quick sketches in clay.
78 cm high x 29 cm wide
In the ballet ‘L’après-midi d'un faune’ Nijinsky’s choreography references the bas-relief figures on Grecian vases - a work where animalism exerts a powerful undercurrent, crossing the boundary between humanity and abandonment.
44 cm high x 27 cm wide
Painted Man. Painted Horse.
The human figure and the zebra conjoined is a recurring theme for the artist. The zebra - ‘the painted horse’ is never simply treated as a naturalistic subject in this work.
The marks on the surface can belong to the man as much as to the animal, like a tattoo, but on the human they seem more transformative - an indicator of light and dark moods.
Patterns on a living being can act as a disguise or they can advertise in equal measure and both are deceptive.
Les Troubadours du Roi Bédouin ©
40 cm high x 80 cm wide
Blank-faced, astride zebras, with their bowlers and brollies, sporting DJ’s, anatolian slippers, instruments and violin cases; the mood is dark and troubling: will they just recite roundels or round us all up?
Nuit et Jour ©
72 cm high x 58 cm wide
The striated brush marks, hidden dots, physical marks and scores are both composed with care but are also slashed with energy.
Minoan I – Haredevil ©
93cm high x 70cm wide
This bull would make an ancient Cretan bull-acrobat feel at home, but this is a leap into fantasy: this daredevil, hare-masked figure is flying into Lewis Carroll’s Wonderland.
Le Turc et le Zébre ©
80 cm high x 60 cm wide
A circus act, but the relationship between man and beast is never quite black and white.
Loop de Loop ©
87cm high x 72cm wide
109cm high x 94cm wide