15 Dec ATHINA SCHINA – Art historian, 2000
“The artist is interested in the soul and the inner radiance of people and things. In each of her compositions their place is determined by the dialogue they develop, the vitality and warmth they dictate, the scaling of the intensity they convey, the pulse and expressiveness they acquire, through the handling of a swift brush stroke.. The space and the forms dispose of a contiquity, the source of which is always a particular atmosphericity.
Alice Papadopoulos’ colour identifies with the light and shades of its fluctuation, without, however, a distinct fixed focus, but on the basis of the rhythmic correlationship of plasticity and drawing of the forms. The inner distribution of the correlations of colour are Post Impressionist and elsewhere appears in Fauvist intensities, so that the painter with her expressionist dynamism can depict her subjects through a self sufficiency of her subtotals determined by others each time. This fact allows her not to be further bound by any conventional perspective, overturning all stereotypes.
In her works, precisely because she shows and simultaneously visually comments on experiences and memories from interiors and the outdoors, from close ups and long shots from times that have passed and others whose familiar signs are still with us, Alice creates fields of projection and recession of a signifying perspective.
The viewer studies and penetrates the realities that the painter shows, as her subjects are distinguished by a deep nostalgia and a sensual exoticism, while at the same time they dispose of sincerity and the appearance of truth, without ever focusing of the specific. Alice paints with deep sincerity and creative liberty, depicting figures and their environment through what feels like automatic writing. She draws in paint and colors with drawing, at the moment when space gives birth to the figures and these determine its self signifiers. Her unforced brush strokes, full of light and colour, power and sensitivity, boldness and imposition, liquidity and speed, thickness and in other places transparency, transers us to a blooming climate, there where everything is over and beginning again, on the slopes of frgetfulness and in the expanses of gazing. Alice’s figures, at times solitary and others surrounded, convey the loving relationship, the reconciliation of contrasts and comradeship. They also convey their optimism and desire for life, to us, through an “nnocence” of her look, outflanking the dead ends with revolutions. The changes in rhythm and the continuing reformation of the figures, form a “landscape”, where through its levels the chance factor becomes the determining one and the stable turns into the fleeting, often reaching all the way up to the curbs of dreaming and fantasy.”