The exhibition of paintings by Stratigula Yiannikopoulos, which is presented by Giorgos Tsaneris until Saturday, November 5, at the Genesis Gallery (Charitos 5, Kolonaki), is a gesture of high sensitivity. Painting from the depths, with exceptional design skill, economy and commitment to the essential, Stratigula Giannikopoulou’s work reveals itself as an excavation of the subconscious. They seem to contribute to understanding the other, getting to know oneself. From scratch.

Conceived as a gallery of black and white light, the Stratigula Giannikopoulou exhibition also expresses the expressive maturity she has achieved. This is manifested not only in the economy and the subject, but also in the investment of efforts, the purpose of which is not an impression, but an experience.

Stratigula Giannikopoulou, a creator with a constant and dynamic presence on the visual scene, focuses her interest on psychographs in which she analyzes familiar faces. The mother’s hands, for example, the son’s head, decapitated figures, Hellenistic quasi-portraits, crossed limbs, scythes, scythes, head movement, introspection and allusions all tend to organize the world of whispering. and splashes.

In his excellent text, art critic Iris Kritikou speaks of “a gripping narrative scroll of small corners of a troubled humanity.” And indeed. All the work of Stratigula Giannikopoulou, as she presented it at individual and group exhibitions, is imbued with the spirit of humanism, universal coverage, which becomes a personal imperative.

The modest world of Stratigula Giannikopoulou is organized in an architectonic form, in the form of collapses and expansions, in the form of triptychs (small clusters) or vertical metopes. The geometry of the design draws attention with rhombuses and pyramids, diagonals and triangles, making room for the story.

In this case, a pair of crossed arms (Giannicopoulou’s Stratigula’s superlative skill in drawing upper and lower limbs is known) or a half-profile can become narrative generators, wombs of forgotten dreams, and flickering projection screens. However, there is targeting, the picture dominates.

The texts of the catalog, in addition to the main text of Iris Kritikou, also feature works by Angelica Yiannikopoulos, professor at the Greek Academy of Fine Arts, the artist’s sister (“the absence of faces emphasizes their presence,” she writes), as well as Yiannis Tsiaousis, art. Professor at the medical school of the University of Crete (approach to the artistic depiction of hands and their symbolism). Hailing from Lagadia, Stratigula Giannicopoulou has in the past approached the tools of those who work the land with the same holiness with which she approaches the human footprint elliptical, but with universal devotion. Deeply humanistic exhibition.