Portfolio l Figures for the Landscape and Interior
The sculptures represented here are very much on the edge of what is achievable using materials such as high-fired clay, steel and polymer plaster. Ultimately, they are intended as maquettes for developing outside works on a larger-than-life scale in bronze and steel.
Highly finished pieces in their own right, they are unique and many stand in interior collections - being of an accessible scale, but, technically, their true purpose is to explore what is possible in sculpting and engineering these materials in order to appear to defy their earthbound limitations.
"There are two distinct strands to my figurative style. This one is a cool and measured response to a profound sense of unrest..."
Flight of the Langoustine ©
110 cm high x 80 cm wide
The robust, yet spectral figures are challenged by the confines of their environment and are the embodiment of release or exodus – in this instance, from an unlikely, reclaimed steel lobster pot, fortuitously washed-up on the beach outside one of Pierre’s early studios...
Flight of the Langoustine ©
110 cm high x 80 cm wide
“Flight of the Langoustine” has been awarded a place on The Hove Plinth, Hove Promenade, South East Coast, England, as part of its inaugural commissioning programme.
It will be realised in bronze and steel, 4 metres high x 3 metres wide.
Work in progress. For more information about the project View Journal
100 cm high x 110 cm wide
"Wazo" (oiseau) occupies the air like a like a flock of birds. The sculpture is spatial and dynamic; classic in its approach, echoing the simple figurative power of say, a Grecian frieze but with the edginess of contemporary dance choreography.
It was proposed by the artist for the London 2012 Olympic South East of England Sculpture Commission, though has yet to be realised on a monumental scale.
Off the Wall ©
66 cm high x 120 cm wide
The original is a unique piece in ceramic and polymer plaster.
"Off The Wall" was subsequently cast in bronze (edition of 9) as a maquette intended for a monumental work.
Exhibited at the Peggy Guggenheim Collection, in the Palazzo Venier dei Leoni, Venice, 2002, the bronze was showcased as part of "Thinking Big" - Twenty-First Century British Sculpture Exhibition, curated by Tim Marlow, and Wilfred Cass of the Cass Sculpture Foundation.
The Exhibition offered a microscopic view of contemporary British sculpture: 85 small-scale works by artists born in seven different decades of the previous century, produced in every conceivable material.
Comme ci Comme ca II ©
88 cm high x 50 cm wide
Proposed by the artist for the site previously occupied by Henry Moore's Arch on Battleston Hill, RHS Garden Wisley, Surrey, England. Pending.
Le Bateau Lavoir ©
100 cm high x 70 cm wide
“Le Bateau Lavoir” is a take on ‘The Laundry Boat’ – the artist studio by the same name, used by Picasso and his contemporaries in Montmartre, Paris. This was a dilapidated, precarious building nicknamed because it swayed like the laundry boats on the River Seine. The elegant forms are bed sheets, not sails.
Exhibited, The Gallery in Cork Street, London, Solo Show, 2012
"There are two distinct strands to my figurative style. This one is a cool and measured response to a profound sense of unrest.
In this work, figures fly in defiance or are challenged by their environments. They 'trippingly' negotiate upheaval or uncertainties — each one is a balancing act, a metaphor for a precarious state of living or existence.
Androgynous and anonymous human figures tilt and fall away - on and off objects that also teeter on a chaotic or shifting stage.
Figures may be set free against strongly convergent lines, shapes and forms — usually composed around the compass, square and angle — the corner stones of architectural practice.
They hold the air, appearing to float or flee, their means of support seemingly nebulous. It is sculpture that pokes fun at gravity — an exercise in a perfect, but disquieting balance.
I use illusion to position each form and figure so that the composition of the piece tricks the eye.
Symmetry brings rhythm to the work and I contrast this by referencing the anarchic articulation of modern dance choreography.
I often prefer to sculpt the human form dynamically and classically, though I may equally choose to take anatomy as a point of departure, simplifying this to a resonance of the figure, paring it down to a cut-out or silhouette or finding energy in a perfectly still figure."
Archival — Figures for the Landscape and Interior cont'd
“The art of movement and the living form provoke in Pierre’s work a refined passion.
His deepest love is for his human figures...
Always faceless, the focus of expression is in their bodies, taut and caught in exaggerated poses. Often grouped in unearthly compositions these figures truly transcend the confines of the ground, being light and delicate, balancing improbably on geometric planes, perched or floating freely on forms forged to suit their creator’s purpose. They are laconic and profound, frivolous and boisterous, occupying the air like a flock of birds.
Frequently allegorical, the effect is felt, not thought, not unlike the experience of gazing upon a meticulously calculated Japanese garden whose simple, curving lines embody the essence of power and strength. Each one-off piece informs the rest; it is here that they acquire their astonishing articulacy”.
F. Pickering. Abridged article CM Magazine first edition.
“Much of Diamantopoulo’s work is focused on movement in sculptures that apparently defy gravity.
Figures appear to float freely in improbable spatial compositions created through geometry
and optical illusion. The strands of his practice are, in the main, allegorical.
Figures fly, dance, run, jump, walk or cavort with a great sense of fun in sculptures that formally oppose the earthbound nature of the materials from which they are made”.
Thinking Big — Concepts for Twenty-First Century
British Sculpture — Peggy Guggenheim Collection, Venice.
Catalogue extract: Cass Sculpture Foundation.