“… Then the trace – the type, the footprint, the unit – leaves its color and invites you to a
physical contact, in body sinking, but at the same time it becomes a “noli me tangere” signal.
A double engagement of art: when you touch me you do not touch me when you paint,
you are stamped, you are stamped in my body, you erase me and delete me, leaving
elsewhere your opposition with indelible ink.
I see in the unit of Christina Sarantopoulou a grid, a wire cloth,
duplicate: it hides and at the same time reveals, identifies and differentiates but
always serves as the limit of the undefined, a ban on a ban that does not
nothing and dictates:
whosoever with the wire of his trace
wants to protect
nor does his identity preserve
nor can it change. »
George Veltsos