Catherine Cafapoulos

  • Maria Papadimitriou

    When the turquoise-green refracted laser beams radiated from the top of the White Tower in Thessaloniki, quite a stir was created. Maria Papadimitriou’s Project for Two Towers: The White Tower of Pisa and the Leaning Tower of Thessaloniki, 1993, raised questions regarding the sacrosanctity of ancient monuments. The problematics of a collaboration between artist and state were also brought into focus. While this work could never have come to fruition without permission from the many authorities under whose jurisdiction ancient monuments are slated, surmounting the red tape proved to be a tortuous

  • Yannis Psychopedis

    Antithesis has consistently been a characteristic of Yannis Psychopedis’ work. In his recent paintings, the most prominent contrast is that existing between the uninhibited use of “wild” color and the evidence of a highly controlled method. Formerly employing a more realistic idiom, he now breaks down and distorts the figure. His most engaging quality is the astute manipulation of metaphor, which is contained in the theme of private interior scenes that merge with urban exterior views, and in the uniformity of both the shrill color and the splintered yet tightly-knit surface.

    The interior/exterior

  • Makis Theophylactopoulos

    Since the beginning of his artistic career, in the mid ’60s, Makis Theophylactopoulos has consistently been preoccupied with painting and the oil medium. He is, in short, the confirmed painter par excellence. His recent work, executed between 1986 and 1988, falls loosely within the parameters of both formalism (he examines some of the fundamentals of painting) and expressionism (largely the consequence of the unusual manner in which he handles paint).

    Theophylactopoulos painted the works in this exhibition with his hands and fingers, a technique he devised in the late ’70s. The artist alternately