• Vassiliki


VASSILIKI (Vassiliki Benopoulou), born in Athens the 28th October, 1960, is a visual artist (painter and sculptress) internationally renowned for her enormous kinetic installations as well as for her conjectural interventions. Exceptionally talented and motivated, is an artist with an interdisciplinary academic background. She studied Greek, English and American Literature at the Kapodistrian University of Athens, and Fine Arts at the American University of La Verne and the International School of Arts in Italy. Nicolas Carone was the professor who inspired and encouraged her mostly while Pierre Restany proved to be her mentor and supporter during a critical period of her artistic career. Philosophy and every aspect of Theosophy developed by man throughout the centuries have been the passionate interests of her study and research.

The philosophy that has been imprinted on her art is defined by the artist herself with the term “Divinitas”, especially on her paintings and sculptures of her first creative period (1976-1996) which represents a conceptual adaptation of the divine in the human intellectual and emotional reality. The divine of the human nature and the psyche, as defined by the Greek philosopher Aristotle, have played an exceptional role in Vassiliki’s idea of human integration within the framework of a philosophical and spiritual code and not of a religious one. It continued to play a prominent role even in the creation of her immense kinetic installations although her works were becoming more “sccular”. In her paintings as well in her installations, Vassiliki has documented the productive dialogue between art and life through everlasting cultural and religious figures and symbols. Her work as a whole is defined by coherent, autonomous thematic evolutionary units, and it forms a creative polyptich, which reflects genuine existential awakenings and a philosophical contemplation on man and the divine.

Profoundly homocentric Vassiliki’s art signifies the continuation of a route dedicated to the mystery of Being through symbolism. In the devout environment of her installations-environments which extend to areas of over 3.000 m2 ), the artist combines her artistic proposal with the everlasting concern of inner balance, and man’s position in the universal whole. Man’s ultimate goal, as it is expressed through the dynamics of her sculptures is the struggle which aims at accomplishing the unity of all conflicting powers. Daring and concerned, Vassiliki continues her speculation and pursuits of the transformation of the image revealing the new interpretation of her work consisting of elements from Commedia dell’ Arte. The mystagogy of self-knowledge was and remains to be the most important aim of Vassiliki’s art.

In her first monumental installations the artist has been working with the mirror discrediting or entrapping the idol’s representation while giving priority to frugality and clarity of sculptural expression. An artist of a rare intellectual sensibility, Vassiliki combines a strong motivation for advancement and progress with professionalism and a constant search for perfection with thoroughVassiliki Sculptress Representations / Collaboration CURRICULUM VITAE History About us Events Representations / Collaboration CV in Brief Contact us Advance Communication Art & Culture a.k.a. Ltd Exhibitions at Museums Private Collections Maria Callas Salvador Dali Clients Clients Art Events Interior Designer Angelos Angelopoulos Events (related to art or culture) Cultural Events Landscape – Architectural Sculptress Nella Golanda Sculptress Vassiliki Sculptor Angelos Panayiotidis Painters Yannis Lasithiotakis Lina Pigadioti-Tzima Tzermias ness while implementing her energetic temperament in order to innovate. Her installation City of Games (2000), is considered to be one of the biggest in scale installations of 21st century.

It is composed by two thousand sculptures, all painted by hand with an astonishing geometrical accuracy, a plethora of colors, shapes and endless arabesques flying into the air and outlined by the figures of Dancers, Acrobats, Guards and the Harlequins -the dominant figure of the City- through swings, the wheel, balls and other machine-made and kinetic devices. Following the inspired Stavroschimites (1997), referring to the form of virtue through its embodiment in the human figure, Harlequins emerge as a key symbol of the artist’s approach toward life, death and the divine. A magestic «stage» with all the necessary paraphernalia promising the trip to the magic world of imagination through the unknown, behind which lurks the danger of balance, the City of Games is an independent, integrated and self-sufficient environment. It carries along its visitors due to the grandness of its extension and the indescribable game of the senses.

The characteristic multi-colored diamond shape costume of Harlequin, the protagonist of commedia dell’ arte, is the primary motif of the City of Games. Dressing up the walls of its surroundings, the diamond shape evolves into an enigmatic game of color combinations that is based on the so-called optical experience and perception. The Temple of colors is certainly the biggest threedimensional painting in the history of contemporary art so far, covering a surface of 2.000 m2. The color tones, the combinations as well as the diamond shapes are almost never perceived to be the same. This differentiated optical perception is due to functions and stimuli of the human brain. A game of dizziness and intoxicating «hypnotism» accompanies the acrobatic attitude of the brain this time. Vassiliki was inspired by Harlequin’s aura, which she perceives as a depository of energy with a dual substance; she also perceives it as a challenge for creation, and a dangerous, yet appealing fascinating standpoint toward life and death, due to the interaction and effervesce of the opposite powers of the soul. Vassiliki perceives all these masks as the undertaking of incompatible standpoints in life, a walking on thin ice, being the achievement of a sensitive balance and paying its price.

During one of the most troublesome period of her adventurous life (2004-2010) she devoted her never-ending creative impulse to a deep research in the human embraces which gave birth to her sculptures and paintings under the title “Being together”. Balance, passion, unity, harmony, even romance give an end to the human conflict during the “Being together” procedure. Feeling unable to face reality during that period of her life, as a conscious survivor turns to utopia for healing herself in order to come back (2014-2015) with one of her most esoteric and humanistic works under the title “I Believe”. An installation composed by paintings, sculptures, environments and performances and all the elements of artistic expression like music, poetry, prose, light which made Vassiliki one of the most accomplished total artist in the contemporary art with an exceptional record of visitors at her exhibitions. She has presented her work in numerous individual exhibitions worldwide and has been honored with distinctions and awards internationally. Most of her works are exhibited permanently in public spaces while others belong to private collections. She lives and works in Greece and Italy.

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