Stelio Diamantopoulos

It's been a long, long time since I held my first Lacrimosa CDs in my hands. Apart from the music that captivated me, it was also the covers that were extremely fascinating for me.  Each cover tells its own story. And now I was finally able to do an interview with Stelio Diamantopoulos. I hope you like it as much as I do. Have fun reading it!

You are Swiss with Greek roots, does this combination have an influence on your life as an artist?

Yes, certainly. I grew up with these two roots, which are also two different mentalities and ways of life that can sometimes be very, very different. What it has certainly influenced a lot is my view of the world. I don't think in fixed, typical patterns, I always try to be very open. And of course this is also reflected in my work as an artist, as my art is strongly linked to my thinking.

You are not mentioned as part of the (Swiss) dark art scene, but through your collaboration with Tilo you have a good view of this scene, how would you describe it?

I only really got to know this scene in terms of music when I worked with Tilo and Lacrimosa. Of course I knew roughly which bands there were and what the music sounded like and how the people dressed and presented themselves. But I was never part of that scene. I find the scene stylistically very interesting, the style, the mood, the lyrics and so on. 
Perhaps this also ties in with my admiration for dark artists and authors. For example, I used to devour the works of E.A. Poe (smile).
In the visual arts, I admire artists such as Gottfried Helnwein and especially H.R. Giger, with whom I was also friends for many years.



You started with surrealist art, then you "switched" to political pop art, how did this development come about?

Surrealism has always appealed to me. This unbridled imagination and the wonderfully enigmatic works of artists such as Salvador Dali, René Magritte, Max Ernst ...
I also taught myself to paint by looking at my favourite artists, studying their techniques and developing my painting style from there. You should always learn from the best! (smile)
What characterised my work from the very beginning was a critical view of the world, which is sometimes reflected in the provocative subjects in my works. This basic attitude, the critical view and the message in my works run like a red thread through my work. And this is independent of the style.
The development of my current style was fluid and mostly resulted from emotional decisions.
In my head, I have always been very politically minded. If you like, it was a logical development.



Which artists/events have influenced you or continue to influence you?

The aforementioned artists and also the Pop Art artists, such as Andy Warhol, Roy Lichtenstein etc. But I'm also constantly discovering new artists, some of whom can inspire me.
But what actually influences me more than the art of others are world events and films, oh, I love films!

The world events thing can be seen well in your art, I think I've also recognised some Hollywood influences, but which films are they exactly? Do you have any favourite films?

It's not usually specific films that have an influence on my art. It's more the visuals, the mood, Hollywood with its many icons and symbolic references.
Of course I have also incorporated the odd film quote or character. For example, the two girls from Stanley Kubrick's ‘The Shining’ or scenes from ‘Kill Bill’.
Oh, favourite films...! That's difficult because there are so many great films.
I love Kubrick's films, for example. Or for a long time ‘Harold and Maude’ was my absolute favourite.
I also keep seeing new films that captivate me. I also love the old classics, I grew up with them. From ‘Citizan Kane’ to all the films by Alfred Hitchcock, the old series from the 70s to Quentin Tarantino and his masterpieces. There's so much!

Your art has already been admired in many countries, does that make you proud that your art knows no "borders"?

Yes, that makes me proud. Because I also see that my works are understood all over the world or at least find favour. I have always wanted to convey a universal language in my art. 
But there is also a downside. Sometimes I have the feeling that Switzerland, where I live, is simply too small or not open enough for my art. 
In any case, for me as an artist it is a huge compliment that there are people somewhere in the world who admire my work and even buy one or more of my pieces. That's a great compliment every time. But not only that. Because let's be honest. You can't pay the bills at the end of the month on fame and honour alone.

Can you make a living from your art?

It's been up and down. Since the Covid pandemic, it's become more difficult as various galleries I used to work with have been cancelled. But I'm always keeping my feelers open to make new contacts.



I see your art as social/political/religious criticism, but how do you see your art yourself?

Yes, that actually sums it up very well. I always try to deal with themes and subjects that are often controversial or give cause for thought.
There are works that deal with consumer society, or with icons and symbols of history, society and the economy. These works are often ambiguous. I like to play with our usual ways of seeing and perspectives, using metaphors and contrasts.
One way of doing this is to reduce my work to the essentials, which makes the effect
on the viewer all the more powerful. The aesthetics of my works, even with serious or unattractive content, is also an important stylistic device that I use purposefully. The viewer is thus challenged and often finds himself in an inner conflict. Goal achieved! (smile)
            
The big question: what is art?

Ooh, many people have already racked their brains over this. 
Art is the individual expression of each person. The ability to open doors. To create something. To burn for something and also be prepared to suffer. To find a form or vessel for your thoughts. And, above all, to react to stimuli and influences. Creative creation. Touching people. Giving food for thought.

In your early years you were also musically active, you played bass for The Glorias and Lacrimosa, what was that time like for you?

Music was always an important companion for me from an early age. I started playing bass as a teenager. It was always clear to me that if an instrument, then bass! It's such an emotional thing. I was active in various bands during this time and we did a lot of sessions. 
Working with Lacrimosa and recording these songs with Tilo in the studio was a great time. The way we approached it was so fresh and carefree. Pure creativity.
And when I listen to it today, I can just see us sitting there in that studio again.
By the way, I still play the same bass guitar.

Could you show us this bass guitar?



Most Lacrimosa fans of course know you because of the vinyl covers, how did this collaboration come about and how and where did you meet Tilo?

When Tilo was working on his first album, he turned to a design agency for the artwork.
They brought me on board because we knew each other and I had recently done the artwork for another band (Victory - Temples of Gold).
We sat together, Tilo and I, and he told me about his ideas, which were already very concrete.
And that's how the first cover and the Lacrimosa-typical artwork came about. A style created especially for Lacrimosa.
The rest is history!

Did you create the Lacrimosa Harlequin?

Yes, I created the logo. Tilo already had a clear vision here too.
I brought it into a form that still exists today.
This also includes the harlequin, which is always depicted on the covers.

Many people naturally ask how a "Lacrimosa cover" is created, does Tilo call you and is there a kind of brainstorming session, can you tell us something about the creation of a Lacrimosa cover? - How much Stelio or Tilo is involved in each cover?
​
Every cover is the result of an intensive collaboration. First there is an idea from Tilo or there are several ideas that we have together. And we sit together, sometimes it takes a long time. But sometimes the idea for the cover is found more quickly, because we know that this is exactly the right thing to do right now.
Once the subject has been found, I make sketches. Then we sit together again. Then the designs become more and more concrete. Every detail is scrutinised. You can't say exactly how much comes from Tilo and how much from me. We then work in a kind of symbiosis. (smile)
The detailed realisation is then of course my responsibility. I have a lot of artistic freedom, because on the one hand I know exactly how Tilo imagines the whole thing, and on the other Tilo trusts me completely.



Is there any unreleased "Lacrimosa art" a kind of "B-sides" or sketches, if so, will we get to see this art at some point?
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There is no "official" Lacrimosa art. And I don't know if we will publish anything.
Maybe if it somehow fits and makes sense.

Do you have a favourite cover?

Good question. First of all, I like them all. I think it was often the case that the cover I was working on was my favourite. At the moment it's definitely "Lament". For a long time, "Satura" was my favourite cover. I love that iconic quality. The grace. That power. I think "Lament" is a real contender in my list of favourites.(smile) I love that darkness. This mood. And again, the power that emanates from the character.



Can you tell us a little secret or an anecdote about Tilo?

Mmh, I'll have to think about that... I can't really think of anything off the top of my head. And if I did, then maybe I wouldn't tell it either...(laughs)

What music do you listen to privately and do you also go to Lacrimosa concerts?

My taste in music and what I listen to is very diverse and spans music history and genres. The choice of what I'm listening to is very intuitive and mood-related.
It ranges from jazz and blues, including very old stuff, to the brilliant era of the 60s and its iconic bands such as The Beatles, Rolling Stones, The Who, The Doors etc. and legends like Bob Dylan to the great 70s bands like Deep Purple, Uriah Heep, Pink Floyd, Led Zeppelin, Black Sabbath and bands like Rage Against The Machine, Metallica, Nirvana, Avenged Sevenfold etc. and of course Lacrimosa.
With Lacrimosa, I'm always completely absorbed by the music, I can't just listen to it on the side. This is because the music and the lyrics have a very strong emotional impact on me.
I've already been to a few Lacrimosa concerts, but probably far too few, because it's certainly an amazing experience every time.



Anything else you would like to say?

I think it's wonderful to accompany the development of Lacrimosa from the very beginning and to be a part of it.
I am also infinitely grateful for every single praise for my work on the cover artwork.
And then there are all those tattoos with the cover subjects. Wow, I was almost shocked at first because of the responsibility. You create something and then someone gets it tattooed on your skin. Today I see it as a huge compliment to Tilos and my work.

Thank you all for being a part of Lacrimosa.

✮ The interview was conducted by Michael.
✮ The interview was conducted in German and translated by Lacrimosa.org
DIAMANTOPOULOS - official website