Andreas Golfinopoulos's most recent exhibition harks back to the sentimental as well as the esthetic values of his previous work, evoking memories and elements of a personal relationship with space and things, which along with the particular features of a personal research, are condensed in his present proposition. Consciously guided to a geometrical approach through mathematical solutions, he proceeds along another path to the fragmentation of form by means of markings and golden sections designed to retain the ultimate image within a coherent wed of lines serving as the connective tissue of the individual parts. The intricate "life" of lines is the predominant feature of the canvas, where the geometric rules impose their own relationships of balance and symmetry, while reference to the positive or negative of the photographs is made more or less explicit through space-filling systems.

Elements that have previously been shown are transferred in the present work where lines "correct" the sentiment and the form obeys the design; that is, something from the old background of the first landscapes, intimate images from the "stony erotic themes" of the immediately previous period, and now the house and trees of Lycoporia standing in the foreground. Thus in this proposition which is viewed as the consistent and summary development of previous propositions, the monumental character is portrayed by imposing, more dynamic themes, certainly independent of the dimensions of the painting. With sentimental options as to the choice of topic and rationalism as to formulation, Andreas Golfinopoulos charts passages through space and time aiming at the exhaustive research of the subject. All in all the evolution is slow and gradual as an internal function, without leaps for the creation of impression, lying outside the sphere of contemporary artistic movements and marked by the fascination and risks of a solitary course.

Vivi Vasilopoulou
Athens, February 1989