Angelos Antonopoulos creates a personal iconography from diverse sources such as the fragments of ancient Greek sculptures, Duchamp’s found objects, and the mysterious and enigmatic elements in de Chirico’s early works. Forms and their archetypal elements are central to Antonopoulos’s investigation. Objects are taken out of context and are appropriated, neutralised, manipulated, and staged in unexpected and mysterious relations, posing endless possible readings.

The exhibition in Poros includes both freestanding sculptures as well as sculptural reliefs, in which the artist pushes the barrier between painting and sculpture. The main theme underlying the exhibition – and a constant in Antonopoulos’s work – is the definition and redefinition of the symbolism implied by the foot/funnel. In Antonopoulos the body is fragmented; the fragment of the foot is taken out of its bodily context and transformed into a symbol playing on an almost surrealist stage, transforming and metamorphosing continuously.

Finally, the exhibition in Poros presents the latest direction of Antonopoulos’s work, centered on the human figure generalised, deprived of specific gender and individual features. It is characterised by a machinelike iconography. The mechanical aspect is emphasised by his preoccupation with measurements and structure, as indicated by the lines and letters referring to the different points in the work, echoing scientific drawings. The work engages ambiguity on many different levels.