Nothing about Paul Hitopoulos, neither his art nor his personality, is what it seems. His work reflects a degree of meticulousness that borrows from Ad Reinhardt, the poster child of Minimalism, an art movement anchored in precision and hyper-simplicity.

Hitopoulos’ art, however, in subject and color, appears environmental – some works take the shape and hue of rivers and flames.

In spite of this, Hitopoulos manages to incorporate an element of industry, like a stake or a wire, into each physical collage. So add one part ecologist, one part minimalist, two parts tedium and a dash of industry for an enigmatic soufflé, right?

Not quite.

Hitopoulos asserts that his work is deeply philosophical and inspired by Carl Jung, an analytical psychologist concerned with symbolic attachment to static material.

Clothed in a black blazer, turquoise Converse All-Star sneakers and a garish, tan baseball cap with ponytail peeking out, Hitopoulos embodies conflicting notions of Southern sensibility and ironic Manhattan artiste. While through and through a South Carolina boy, Hitopoulos frequently speaks fondly of the galleries and art of New York City. As a professor at the College of Charleston, he tells his students they can paint anything — except unicorns and fairies. He said he unapologetically informs students of their imminent failure in visual arts, yet reaches out to the unqualified, DUI-convicted, druggie as a protégé.

Hitopoulos’ work delights in precision. One work, a pine-lined, mylar-filled quarter-circle evokes an icy, narrow river with tiny bits of broken glass reflecting gallery light. Each bit of inlaid glass was precision-placed using a large toothpick — visualize a broken window reassembled piece-by-piece.

One would think this is a labor of love, but Hitopoulos said he wanted to smash the work because it was so tedious. And, knowing Hitopoulos’ personality, one wouldn’t put it past him.

Photo by Cavalier Daily Staff Photographer, Cavalier Daily Photo Staff