Katherine – 130cm

Danny Fotopoulos Sculpture

In the liminal space between representation and abstraction, Danny Fotopoulos orchestrates a profound dialogue with the physical through his biomorphic sculptures. Working with materials that carry the weight of both industrial utility and sculptural tradition (Plywood & Bronze). Danny’s practice emerges from a sophisticated understanding that the body’s truth lies not in faithful replication but in the kinetic energy of its rhythm. These twisting, curved forms refuse the static monumentality of classical figuration, instead proposing sculpture as choreography frozen in time, where viewers participate in an elaborate dance of perception as each shifting vantage point reveals new tensions between positive and negative space.

The artist’s commitment to biomorphic abstraction positions him within a lineage extending from Hans Arp’s organic modernism through the corporeal investigations of Louise Bourgeois, yet his work speaks with distinctly contemporary urgency. His elements, “pushed and pulled in various directions, as in a communal dance,” reveal a profound understanding that sculpture, at its most essential, concerns the negotiation of space. Fotopoulos insists upon the primacy of physical encounter, creating objects that pulse with memory. Through material transformation, he renders visible the invisible energies that flow between bodies, without succumbing to literal representation.

Danny Fotopoulos Sculpture

In the liminal space between representation and abstraction, Danny Fotopoulos orchestrates a profound dialogue with the physical through his biomorphic sculptures. Working with materials that carry the weight of both industrial utility and sculptural tradition (Plywood & Bronze). Danny’s practice emerges from a sophisticated understanding that the body’s truth lies not in faithful replication but in the kinetic energy of its rhythm. These twisting, curved forms refuse the static monumentality of classical figuration, instead proposing sculpture as choreography frozen in time, where viewers participate in an elaborate dance of perception as each shifting vantage point reveals new tensions between positive and negative space.

The artist’s commitment to biomorphic abstraction positions him within a lineage extending from Hans Arp’s organic modernism through the corporeal investigations of Louise Bourgeois, yet his work speaks with distinctly contemporary urgency. His elements, “pushed and pulled in various directions, as in a communal dance,” reveal a profound understanding that sculpture, at its most essential, concerns the negotiation of space. Fotopoulos insists upon the primacy of physical encounter, creating objects that pulse with memory. Through material transformation, he renders visible the invisible energies that flow between bodies, without succumbing to literal representation.