{"id":43452,"date":"2025-03-22T01:15:26","date_gmt":"2025-03-21T22:15:26","guid":{"rendered":"https:\/\/artgrid.gr\/?page_id=43452"},"modified":"2025-06-14T14:08:41","modified_gmt":"2025-06-14T11:08:41","slug":"andreas-sinopoulos-en","status":"publish","type":"page","link":"https:\/\/artgrid.gr\/en\/andreas-sinopoulos-en\/","title":{"rendered":"Andreas Sinopoulos"},"content":{"rendered":"\t\t
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Andreas Sinopoulos<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Painter | Greece<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Andreas Sinopoulos is a painter. He was born in Athens in 1961, where he currently lives and works. He studied Painting at the School of Fine Arts \u2013 Department of Visual Arts of the Aristotle University of Thessaloniki, under the guidance of Makis Theofylaktopoulos. He also attended Engraving courses with Giorgos Milios and Art History with Niki Loizidi. He is a member of the Chamber of Fine Arts of Greece (EETE). Since 1999, he has been teaching at the Painting Workshop of the Municipality of Zografou in Athens. In 2007, he turned mainly to non-figurative painting, while remaining active in figurative art as well.<\/p>

In January 2020, his body of work up to that point was presented at an event at IANOS bookstore by historian and architect Kostas Kazamiakis, with the participation of poet Giorgos Gotis and photographer Haris Kakarouchas. Between 1979 and 1982, he attended ASETEM-SELETE, studying Pedagogy. He has collaborated with painters and iconographers on church murals, with Kostas Georgakopoulos (1984), Chrysogonos Karahalios and Ioannis Christopoulos (1992\u20131994), and painter Kostas Papatriantafyllopoulos (2003\u20132004).<\/p>

His special interest in East Asian art led him to study the Japanese language, in which he earned a degree in 1995. Since 2004, he has been researching the subject of the polychromy of ancient statues. He has presented his work in three solo and selected group exhibitions in Greece and Belgium from 1990 to the present. His works are held in private collections. In parallel with the visual arts, he has been involved in poetry since the 1980s, with several publications in well-regarded literary journals.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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STATEMENT<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Until 2007, I believed that (figurative) painting was ultimately justified by the result\u2014that only the outcome held value. The result\u2014whose finalization lasts only a few moments\u2014gave me a vague sense of satisfaction, but not the process by which I arrived there. \u201cVague satisfaction,\u201d because I was uncertainly and barely connected to what I was painting. No emotion arose from within me; I worked solely with knowledge.<\/p>

In that state, I felt uneasy rather than fulfilled. That\u2019s when I was led to completely ignore the artistic ideals I had held, through my participation (in 2007 and 2008) in a seminar led at the time by photographer Haris Kakarouchas. The core idea was to work with my entire being present\u2014not just with my mind. And in order for that to happen, I first needed to connect with my \u201centire being\u201d…<\/p>

I limited myself to the most basic materials\u2014paper and one or two colors. I did not predetermine any outcome during the act of painting; I didn\u2019t judge or think about anything. I approached my unknown or unrecognizable subject with the sustained intensity that carried the painting process from beginning to end. Some emotion was fueling all of it\u2014psychic pain, and very often, an abyssal rage.<\/p>

By painting this way, I found myself in a harsh terrain where, nonetheless, I could exist almost entirely whole. Painting was no longer torment. Four years later, the majority of the work was completed, and I was able to take an overview. I destroyed about one fourth of the production, which had no reason to be kept. Among those I rejected were works that were aesthetically complete\u2014but only aesthetically. Aesthetics should not be the highest criterion.<\/p>

Almost a decade later, shortly after 2016, when I continued working in this instinctive, conscious, and gestural way, the intensity that surged from within became so overwhelming that I could hardly bear it, and I didn\u2019t know how to use it. It was as if there was fuel, but no purpose. I also saw that I was replicating my own technique\u2014that is, the medium itself. Today, we call that mannerism, and it is nothing more than aesthetic. Realizing this, I decided I had to stop, while knowing that a place exists there, where I have walked.<\/p>

On the other hand, I did not abandon studies, or representation\u2014that would be like abandoning (and distancing myself from) my art, that is, its foundation and measure. For now, only these works will be posted here\u2014that is, not the representational ones.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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AT A GLANCE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Type<\/strong>: Painting<\/p>

Medium<\/strong>: Inks, Oil Pastels, Tempera, Pencils, Charcoal on paper, Acrylics & Oil on canvas<\/p>

Style<\/strong>: Gestural Abstraction, Abstract and Figurative Expressionism, Line Drawing, Minimalism<\/p>

Themes<\/strong>: Conceptual<\/p>

Studio<\/strong>: Athens, Greece<\/p>

Affiliations<\/strong>: EETE (Chamber of Fine Arts of Greece)<\/p>

Price Range<\/strong>: \u20ac500 \u2013 2500<\/p>

International Standing<\/strong>:
EMERGING | HIGH-POTENTIAL<\/strong> | MID-CAREER | ESTABLISHED<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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RECENT WORKS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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CAREER PATH<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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SOLO EXHIBITIONS<\/strong><\/span><\/p>

Ersi Gallery, Athens, 1999
Public Library of Chalkida, Chalkida, 1996
Chryssothemis Gallery, Halandri, Athens, 1996<\/p>

INTERNATIONAL PARTICIPATIONS<\/strong> (selected)<\/strong><\/p>

Gallerie Fontaine L\u2019Eveque, Fontaine L\u2019Eveque, Belgium, 2002<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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GROUP EXHIBITIONS <\/strong>(selected)<\/span><\/p>

\u201cCities of Humans\u201d<\/strong>, curated by Athina Schina, P. & M. Kydoineos Foundation, Andros, 2023<\/p>

\u201cModern Greek Painting\u201d<\/strong>, Port Art Gallery, Patras, 2008<\/p>

Trigono Art Hall, Kifisia, 2002<\/p>

Rarity Gallery, Mykonos, 2002<\/p>

Atrion Gallery, Thessaloniki, 2002, 1999, 1996<\/p>

\u201cThe Horse\u201d<\/strong>, Ersi Gallery, Athens, 1998\u201399<\/p>

\u201cHoly Paintings\u201d<\/strong>, Ersi Gallery, Athens, 1998<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\u201cRoute ’97\u201d<\/strong>, Ersi Gallery, Athens, 1997<\/p>

\u201cIn Memory of Fotis Kontoglou\u201d<\/strong>, Goulandris-Horn Foundation, Athens, 1996<\/p>

Hyacinth Art Hall, Kifisia, 1996<\/p>

\u201cFestival of Literature & Art\u201d<\/strong>, Cultural Center of the Municipality of Lefkada, Lefkada, 1994<\/p>

\u201c14 Students from the Studio of Makis Theofylaktopoulos at the School of Fine Arts of Thessaloniki\u201d<\/strong>, Ileana Tounta Center for Contemporary Art, Athens, 1993<\/p>

\u201cFor the Children of Yugoslavia\u201d<\/strong>, Kostis Palamas Building, Athens, 1990\u201391<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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BOOK COVERS & ILLUSTRATIONS<\/strong><\/span> (selected)<\/strong><\/p>

TO KOINON magazine, issue 17<\/strong>, March \u2013 illustration, 2023<\/p>

Rainer Maria Rilke, The Golden Box<\/strong>, translated by Panagiotis Yfantis, Armos Editions, Athens \u2013 frontispiece illustration, 2021 & 1999<\/p>

Stylianos G. Vios, The Little Rooster & Other Tales from Chios<\/strong>, edited by Agni Stroumbouli, Chios \u2013 illustration, 2003<\/p>

\u201cDiavazo\u201d magazine, biweekly book review, no. 310<\/strong>, 28.4.93, Athens \u2013 cover art, 1993<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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PUBLISHED POETRY<\/strong><\/span><\/p>