Interview with Paul Anagnostopoulos

Paul Anagnostopoulos
My Tears Are Becoming A Sea, 2019
Acrylic and oil on canvas
30 x 20 in. (detail)

Paul Anagnostopoulos (b. 1991 Merrick, NY) works in acrylic and oil painting, and graduated with a BFA in Painting in 2013 from New York University. Paul spoke with Ty Bishop, founder of FOA on the heels of his second solo exhibition, We Can Be Heroes, which opened in January 2020 at the Leslie-Lohman Project Space in New York, NY. Paul’s work was pushed in Volume 11

Ty: A central part of your painting is male Greek figures. Why are these such a focus of your work? 

Paul: I come from a very proud Greek and Italian family. The earliest images I saw in my grandparents’ homes were replica ancient vases and classical statues. As a child, I would spend hours drawing these figures. Both of my grandmothers were teachers with a strong interest in history. As I sketched these souvenir still lives, they would explain historical events, mythological stories, and their parents’ journeys from the Mediterranean to America. This is the autobiographical and nostalgic reasoning as to why I focus on these images. Conceptually speaking, the male figures serve as an access point to the discussion of masculinity in my work. These men are the undisputed epitome of Western power and beauty. I challenge these notions by injecting emotion and sensitivity to dramatically highlight the humanity of these divine characters. This increased sense of sentiment allows for the celebration of a tender masculinity.

Ty: There’s also a strong presence of nature in your pieces. Are you referencing specific places? 

Paul: Setting is a key element in my work. Each painting is a glimpse into a timeless realm, a universal view of paradise. All of the landscapes are from my photos or in situ drawings. I’ve traveled around the world thanks to several artist residencies. I deeply care about all of these places I’ve explored. Whether it be above the clouds in Maui, behind the waterfalls of Southern Iceland, or in the jungles of Riviera Maya- my environment heavily influences me and permeates into my paintings.

Ty: I’m curious how you decide on what figure goes with each landscape. Is it an aesthetic choice, or do you also conceptually relate the figure and the landscape? 

Paul: My work contains a series of deliberate and conscious decisions. I typically start with an idea regarding a specific narrative or figure- whether they be mythological, historical, or personal. From there I plan the composition and symbolism within the painting. I often think, “How will the landscape reinforce the characters narrative, why are they there?” Once I have this foundation, I support my concept with other elements- whether it be some sort of pattern, celestial object, or flora. I consider each one’s historical and cultural significance to further build upon my complex network of motifs.

Ty: Often you leave the figures as a contour line and they are filled in with a vibrant color or pattern. How come some are left empty while others are patterned? 

Paul: This all depends on the conceptual focus of the painting. It may be that I want to emphasize the entire scene and surroundings so the figure acts as more of a ghost. He represents a faint otherworldly presence, the manifestation of a mood comparable to the way ancient gods were personifications of natural phenomenons and emotions. On the other hand, when I want the figure to take center stage, I apply a more vibrant color or complex pattern to entice the viewer. I also consider the sense of depth and flatness within the painting. A major facet of my work is concerned with the manipulation of space; I play with color, form, and line to achieve a push-pull effect.

Ty: How do you decide on your titles? 

Paul: My titles are largely appropriated from song lyrics. I see pop music as bites of melodrama- entertainment oversaturated with emotion. This is parallel to the tragedies and dramas of ancient times- those were their captivating dramatic moments. When handling these hyperbolic words, I’ll often title a work to encapsulate its overarching feeling: melancholic, spirited, seductive, etc. This also allows for humor to enter my work. These paintings can get conceptually heavy and serious. The overdramatic, sometimes ridiculous, lyrics help lighten the mood and increase the accessibility of the painting.

Ty: You’ve spent quite a bit of time at residencies in the US and abroad. How have they helped shape your practice? 

Paul: Residencies have helped me in so many different ways. Firstly, they’ve offered me uninterrupted bouts of time and space to focus and develop ideas- leading to exponential growth. As I mentioned earlier, they’ve provided me with a plethora of inspiration and greatly informed my aesthetic. The most valuable component is that they’ve taught me how to look at my work in different ways. I’ve had incredible opportunities to discuss my work with people of all different cultures, ages, gender identities, etc and every conversation has given me a varied insight. This diverse range of perspective has taught me how to step back and understand in a new light.

Ty: Any memorable experiences from a residency? 

Paul: Way too many to list! What comes to mind is the time I tried to find oil paint in Iceland. I took the residency bike out on a crisp spring morning- the art store was only a 20 minute ride away from my apartment. A few minutes into my ride, an intense ice storm began. The wind was whipping hail around and there was practically no visibility. I fell over too many times to count and ended up getting lost on the major highway there. But 2 hours later and dozens of bruises later- I finally had my paint. Another time, when I was living in Guanajuato, Mexico, I painted on a rooftop overlooking the city. It was filled with potted hibiscus doted on by dozens of hummingbirds. The issue was the intense sun and 100 degree temperature. Not to mention there seemed to always be a Catholic feast day. This meant that every church in the city was constantly ringing bells and launching fireworks. One nearly crashed into a painting I was working on! Each residency offered me such a different experience and adventure. The constant at each one was the strong sense of community and engaging network built through studio visits, critiques, and potluck dinners.

Ty: You recently had a solo show at the Leslie-Lohman Project Space in New York where you had over 30 new paintings. That’s a lot of work! What new things can we expect to see in this body of work? 

Paul: The total ended up being 31 paintings and 22 of them were made in the past year! This body of work showcases how I’ve further developed my aesthetic. The work I made a couple of years ago was more fixated on portraiture with maybe one design element. It was simpler and smaller. Painting was an exploration of what interested me and a process of experimentation to expand my visual vernacular. In the past year, my practice has really flourished. I’m increasingly complicating the picture plane and working larger. I incorporate more of the full body and multiple figures interacting to push the narrative aspect of my work. I have also been investigating how my layers are woven together and highlighting moments of disruptions. These shifts have further complicated and strengthened my paintings.

Ty: Do you have any advice for other emerging artists? 

Paul:  Apply Apply Apply! I’ve been fortunate enough to participate in exhibitions, residencies, publications, and so many other opportunities but those came with hundreds of rejections. As an emerging artist, you are your strongest advocate. Apply for anything and everything you can. The more your work is out there, the more likely it is to be seen. With that being said, it’s invaluable to have great photographs of your work.