'Reflections on human existence': this might be a possible description of what Greek sculptress Christina Saradopoulou, aka SARADO, uses as building blocks in her work.

Saradopoulou creates sculptural 'landscapes', site-specific works and installations whose form emerges as an elaboration of the pattern of the human fingerprint and the proportions of the human body.

Metal mesh, punctured mass that is transparent, at times colored, at others mobile, often monumental in scale, are the components of installations or environments that epitomize the contemporary perception of art in public space.

SARADO's sculptures combine narrative and abstraction, since sculptural form in her work is based on the chaotic and labyrinthine pattern of the fingerprint that has been a constant source of inspiration through her sculptural investigations.

Her particular choice of symbol, which ultimately determines the form and content of her sculpture,  goes back to a preoccupation with existential philosophy, as well as with the implications for man of research carried out in the field of contemporary physics.

Thus, her sculptures become portraits, forms reminiscent of the human body, worlds in themselves, geometric compositions freighted with the imprint of countless human hands. They tell stories of relationships and recount existential concerns, thoughts about the individual, the part and the whole. They mold the mass of individual existence into the shape of collectivity.

Saradopoulou's sculptures reveal the diversity of the collective, today a universal demand across human societies everywhere. They make us think about individuality in ways that may promote communication amongst the peoples of the world, strengthening within us the respect for difference.



December 5-8