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Stass Paraskos (; 17 March 1933 – 4 March 2014) was a British-Cypriot painter, sculptor, and writer. Born and raised in Cyprus, he spent much of his life working and teaching in England, where he famously became embroiled in a 1966 obscenity trial, before returning to Cyprus to open the island's first school of art.
Terence Jones, reviewing a retrospective exhibition of Paraskos' work held in Leeds in 2009, stated, "Ironically the painting in question now hangs in the Tate. When you see it, you do wonder what all the fuss was about. It's quite an expressionistic piece in which you can see, just, a woman holding a man's penis, but it is extremely tame when compared to what has happened in the art world since then."Quoted in 'A ray of Cypriot sunshine who caused scandal in '60s Leeds' in The Yorkshire Post (UK newspaper), 27 February 2009
Following this, Paraskos was invited in 1967 to take part in a group exhibition, Fantasy and Figuration, alongside Pat Douthwaite, Herbert Kitchen, and Ian Dury at the Institute of Contemporary Arts in London.ICA, Fantasy and Figuration, exhibition cat., London, 1967, Tate Archive (London) ref. LON-INS (S.C.) Dury was later to become a close friend as they both began teaching at Canterbury College of Art in 1970.Richard Balls, Sex and Drugs and Rock and Roll (London: Omnibus Press, 2001) p79 and passim. Paraskos became the last British artist to be successfully prosecuted for obscenity under the Vagrancy Act 1838.'Artist Stass Paraskos to be honoured at Leeds light show', in The Cyprus Mail (Cyprus newspaper), 4 September 2014 An exhibition recreating the 1966 Leeds exhibition was staged at the Tetley Arts Centre in Leeds in 2016 to mark the fiftieth anniversary of the original exhibition and prosecution, and in 2021 the trial featured in the BBC television documentary, Forbidden Art, presented by Mary Beard.
When Canterbury College of Art was renamed Kent Institute of Art & Design, Paraskos was appointed a Senior Lecturer in Fine Art and then Head of Painting, before returning to Cyprus in 1989 to run the Cyprus College of Art with his daughter Margaret Paraskos.David Haste, Stass at Canterbury, in Michael Paraskos (ed), Stass Paraskos (Mitcham: Orage Press, 2009) 36f Using his connections in the British art world, Paraskos was able to bring a large number of well-known international artists to the Cyprus College of Art, including Anthony Caro, Dennis Creffield, Jennifer Durrant, Terry Frost, Clive Head, Michael Kidner, Mali Morris, Euan Uglow, Rachel Whiteread and others, as well as many hundreds of art students from Britain and elsewhere, resulting in what John Cornall, writing in The London Magazine in 1996, called the discernable influence of Cypriot elements in British art during the period.John Cornall, 'Earth wisdom : Cypriot connections in British art : Geoffrey Rigden & Stass Paraskos' in The London Magazine, February 1996
These visits by internationally recognised artists resulted in the Cyprus College of Art being held up as one of the cultural highlights of Cyprus by several presidents of Cyprus and other government ministers during the 1970s and 1980s. However, according to Parakos's son, the art historian Michael Paraskos, Stass Paraskos believed he has deliberately snubbed by the academics at the University of Cyprus, after its foundation in 1989. Although Paraskos had received numerous assurances from Cyprus government ministers during the 1970s and 1980s that the Cyprus College of Art would form the nucleus of a new Faculty of Fine Art at the future University of Cyprus, on its creation he found himself sidelined by the new University authorities. According to Michael Paraskos, his father saw this as a personal betrayal by the government authorities, which pushed Stass Paraskos into taking an even more anti-establishment line in his art, writings and running of the Cyprus College of Art.Michael Paraskos, Stass Paraskos: A Celebration for Pafos 2017 - European City of Culture (London: Orage Press, 2017) p. 8
According to Dominique Auzias and Jean-Paul Labourdette Paraskos's paintings 'illustrate Cypriot rural life, the tormented history of the island, love, life, death, always in a lyrical, romantic mode.'Dominique Auzias and Jean-Paul Labourdette, Petit Futé: Chypre (Nancy, Editions Petit Futé, 2018) p.35
Despite primarily being a painter, in 1992 he began work on an ambitious sculpture wall, in the village of Lempa, on the west coast of Cyprus. This wall is made of found and recycled everyday objects, and comprises a mixture of abstract and figurative forms, including a King Kong-sized gorilla, a pigmy elephant and a giant pair of welcoming hands. The wall is twenty metres long and up to four metres high, and forms a sculpture garden enclosing the studios of the Cyprus College of Art.John Cornall, Stass and Cypriotness, in Michael Paraskos (ed), Stass Paraskos (Mitcham: Orage Press, 2009) 16f
Paraskos was consistently a political artist, with left-wing and later anarchist sympathies. A member of the Communist Party of Cyprus (AKEL) in his youth, he used his art to look at subjects such as political and social oppression, the rights of women, and the horrors of war in Cyprus and the Middle East.Michael Paraskos, Stass Paraskos: A Celebration for Pafos 2017 - European City of Culture (London: Orage Press, 2017) p.4 This political activism went beyond his painting, with frequent articles by Stass appearing in Cypriot newspapers attacking what he saw as capitalism's destruction of Cypriot culture, society, and the environment. He called the European Union-backed international arts festival Manifesta, scheduled to be staged in Cyprus in 2006, a "capitalist plot to hijack and destroy what is uniquely Cypriot in our culture and replace it with a bland globalism".Quoted in Michael Paraskos, 'In Darkest Cyprus: Manifesta 6' in The Cyprus Weekly (Cyprus newspaper), 20 January 2006
His first exhibition in Cyprus followed a year later, at the Four Lanterns Hotel in LarnacaStass Paraskos's diary, published in Michael Paraskos, In Search of Sixpence (London: Orage Press, 2016) p.102 after which he exhibited regularly in galleries in both the United Kingdom and Cyprus. His published resume also lists exhibitions in Greece, the United States, Brazil, India, and Denmark.Evi Papadopoulous (ed), The Kean World of Orange (Limassol: Kean Ltd, 2009) 42
In 2003 Paraskos was the subject of a book by the art historian Norbert Lynton, published by the Orage Press. His work is represented in the State Collections of Cyprus, the National Gallery of Greece, the Collection of the Arts Council of England, Leeds University Art Collection, Leeds City Art Gallery and the Tate Gallery (Tate Britain), London.
In 2008 he was awarded an honorary doctorate by the University of Bolton for his services to art and art education.Evi Papadopoulous (ed), The Kean World of Orange (Limassol: Kean Ltd, 2009) 42
In 2017 he was the subject of a major exhibition at Paphos Art Gallery in Cyprus as part of the city's celebrations as European Capital of Culture.Pafos 2017: European City of Culture, Stass Paraskos: A Celebration (London: Orage Press, 2017) Weblink
In the preface to Paraskos's book Aphrodite: The Mythology of Cyprus the late George Thomas, 1st Viscount Tonypandy, a frequent traveller to Cyprus commented: "Greek mythology provides an eternal fascination.... Stass Paraskos, one of Cyprus' most distinguished artists provides in this book an exciting recital of the influence Greek mythology has brought to bear on Greek Cypriot development."Preface to Stass Paraskos, Aphrodite: The Mythology of Cyprus (London: Interworld, 2000) 1f
Paraskos's The Mythology of Cyprus was published in Greek and Turkish translations in 2018.
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