In the early 60’s, « facing the abstract logorrhoea which took possession of painting », Pavlos decided to head towards an « objective » material. Once he discovered the posters in parisian underground, the painter started his sculptures, using shredded posters collected in printing shops. If Pavlos distinguished himself from poster artists of New Realism (affichistes), it is because he chose to work the edge of paper.
Exhibition view, “Les historiques”, Pavlos.Exhibition view, “Les historiques”, Pavlos.Exhibition view, “Les historiques”, Pavlos.Pavlos, Baroque, 1966, Affiches Massicotées, 127 x 157 x 9 cm.Pavlos, l’Arbre, 1990, bandes de papiers découpés, 100 x 113 x 4 cm.Pavlos, Manteaux, 1971, jex et plexi, 200 x 150 x 1,8 cm.Exhibition view, “Les historiques”, Pavlos.Exhibition view, “Les historiques”, Pavlos.Pavlos, Vitrine, 1986, collage papier d’affiches, 125 x 160 x 2 cm.Pavlos, Bolduc Rose, 1980, papier Bolduc, 177 x 134 x 10,5 cm.Pavlos, La Mer, 1971, papiers déchirés, 162 x 116,5 x 4,5 cm.Pavlos, Pneus, 2004, papiers d’affiches, dimensions variables.Pavlos, Pneus, 2004, papiers d’affiches, dimensions variables.Pavlos, Café au lait, 1972, paper, plexiglas box, 60 x 66 x 61 cm.
