Kostis ZaZas
Βιογραφικό
Κωστής ΖαΖάς Ζωγράφος-γλύπτης
Ελλάδα. Κρήτη
Εργαστήρι: Σούρη Βάμου-Αποκόρωνας
(Χανιά)
q Έχει πάρει μέρος σε πολλές ομαδικές εκθέσεις στην Ελλάδα και στην Αγγλία.
q Έχει πάρει μέρος δυο φορές στη διεθνή έκθεση του Μουσείου Σύγχρονης Τέχνης του Μονακό στο Μόντε-Κάρλο (1982-1983).
q Έχει Αγιογραφήσει τρεις εκκλησίες με βυζαντινή γραφή στην κεντρική Ελλάδα (τοιχογραφίες και φορητές εικόνες).
q Γλυπτά και ανάγλυφα από πέτρα και μάρμαρο είναι μνημεία που βρίσκονται σε δημόσιους χώρους (πλατείες) στην Κρήτη.
q Πλήρες μέλος του F.P.S (Eλεύθεροι Ζωγράφοι και Γλύπτες ) στο Λονδίνο.
q Ατομικές εκθέσεις.
1979 Αθήνα 1995 Χανιά
1980 Καρδίτσα 1997 Βάμος
1980 Λαμία 1999 Βάμος
1981 Φλωρεντία 2000 Ναύπλιο
1982 Αθήνα 2006 Χανιά
1983 Ναύπλιο 2008 Χανιά
1984 Αθήνα 2010 Αθήνα
1985 Αθήνα 2010 Χανιά
1987 Χανιά 2013 Βάμος
1988 Χανιά 2016 Χανιά Κ.Α.Μ
1989 Αθήνα 2019 Βάμος
1991 Λονδίνο 2022 Βάμος
1993 Λονδίνο
Biography
Kostis zazas
Painter and sculptor
Greece. Crete.
Studio: Souri-Vamos-Apokoronas.
(near Chania)
q Participation in many group exhibition in Greece and in England.
q Participation twice in the international exhibition of the museum d’art Conteberain du Monaco in Montecarlo. (1982-1983)
q Wall paintings and the portable wood icons in three churches in the central Greece.
q Sculptures and bas-relieves made of stone and marble are monuments in public places like squares in Crete.
q Full member in the F.P.S (Free Painters and Sculptors) in London.
q One man exhibition:
1979 Athens- 1995 Chania-
GR Crete-GR
1980 Karditsa- 1997 Vamos-
GR Crete-GR
1980 Lamia- 1999 Vamos-
GR Crete-GR
1981 Florence- 2000 Nafplio-
Italy GR
1982 Athens- 2006 Chania-
GR Crete-GR
1983 Nafplio- 2008 Chania-
GR Crete-GR
1984 Athens- 2010 Athens-
GR GR
1985 Athens- 2010 Souda-
GR Crete-GR
1987 Chania- 2013 Vamos
Crete-GR Crete-GR
1988 Chania- 2016 Chania
Crete-GR Crete-GR
1989 Athens- 2019 Vamos
GR Crete-GR
1991 London- 2022 Vamos
England Crete-GR
1993 London-
England
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kostiszazas@gmail.com
Εργαστήριο: Σούρη Αποκορώνου Χανιά
Studio: Souri Apokoronas Chania
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Director for the LOGGIA GALLERY London
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“K. Zazas explores an entirely different kind of universe, that of human body. His large pink figures are strangely muscular, sinewy images. Melting into one another they are shadow-like and see-through, as if testing the tangibility of their apparently solid forms. Their movements are recorded in a blur, so that even they, are uncertain and temporary - an experiment in physical permanence.”
Emma Burn
“ ‘It is the same now as it ever was’. This quote from ther artist’s biography seems to point one in the right direction for a cleaner understanding of the figurative images that occupy his canvases. In view of his studies in Byzantine painting, the restoration of icons and his murals on church walls in Greece, one would expect to see work that was immersed in this early from the Christian art. This work however appeared to me to be much more reminiscent of an earlier period of Greek culture. The artists of the 5th century B.C., apparently unaware of man’s duality, had a single-minded love and understanding of elegance and gracefulness of the human from from and its potential for performing great deeds of strength and endurance.
Arts editor to ''Arts review
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Εργαστήριο: Σούρη Αποκορώνου Χανιά
Studio: Souri Apokoronas Chania
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ΣΠΟΥΔΑΣΤΙΚΗ ΕΞΕΓΕΡΣΗ
2008
STUDENT UPRISING
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Some critiques
from England:
“The byzantine
influences give his modern work and extraordinary sense of continuity. His
images are mysterious and yet reflect the emotions of our own day. ‘It’s the
same now as it ever was’. These are essentially paintings of a Mediterranean
artist.”
Roy Rasmussen, Sculptor
Director for the LOGGIA GALLERY London
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“K. Zazas explores an entirely different kind of universe, that of human body. His large pink figures are strangely muscular, sinewy images. Melting into one another they are shadow-like and see-through, as if testing the tangibility of their apparently solid forms. Their movements are recorded in a blur, so that even they, are uncertain and temporary - an experiment in physical permanence.”
Emma Burn
Arts Editor for London
Portrait Magazine and
a regular contributor to Arts Review
----------
“ ‘It is the same now as it ever was’. This quote from ther artist’s biography seems to point one in the right direction for a cleaner understanding of the figurative images that occupy his canvases. In view of his studies in Byzantine painting, the restoration of icons and his murals on church walls in Greece, one would expect to see work that was immersed in this early from the Christian art. This work however appeared to me to be much more reminiscent of an earlier period of Greek culture. The artists of the 5th century B.C., apparently unaware of man’s duality, had a single-minded love and understanding of elegance and gracefulness of the human from from and its potential for performing great deeds of strength and endurance.
To a large
extent, K. Zazas has continued to uphold this attitude in his work – but with
the now universal knowledge of man’s spiritual nature, has linked his past heritage with present trends in art. The
paintings are similar in form and colour. Soft almost transparent blues, mauves
and orange – reds blended perfectly with the curving intertwining figures
superimposed one over another, giving the work a rather mystical and ethereal
appearance. I could very easily imagine these figures to be the spirits of
those famous statues of Greek Gods and heroes released from their frozen stone
and marble habitat, relaxing the reclining I a 20th century
atmosphere of stimulating turmoil. These are modern, almost abstract paintings,
communicating to us with voices from the past.
Each work seems
to repeat the same overall message. This I think, is emphasized when one notice
that with very little adjustment all the exhibits could be joined together to
make one large painting or mural.
I failed to
understand the reason for the vertical and horizontal grooves inside on one or
two paintings. Mondrian? Maybe! Or was it the vertical and horizontal structure
of life, which, incidentally is the same now as it ever was?”
Arts editor to ''Arts review
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