From the study of the works of Christina Saradopoulou we ascertain a semeiological work which primarily, through the study of the signs, records a phase of discrete appropriation of the painting code. It’s a phase of creation of the precise code, through an investigative procedure on the elementary signs of the language of the plastic arts.

Indeed, the artist, directing her quest towards more radical, although inevitably more restrictive, targets, focus her attention on the construction procedure of the painting code, increasing progressively the density of the signs till she transforms them into elementary parts, reducing them gradually to the material level of minimalistic sculpture.

This is a more analytical phase in which the artist reflects the investigations on the signs, impressed on the hand of Man, thus restricting the continuity of the apparent forms in the discontinuity of definite and constant geometrical patterns.

Such works, although favouring structures which are self significant and self defined on the concrete, objective level of the painting surface and sculptural creation don’t necessarily defy the solutions of divinatory illusions and allegories.

Thus the form confirms itself on the level of apparition, but simultaneously it shows equivocal as if it were conceived while inclining in two different directions: on the one hand towards a more simple confirmation of those precisely descriptive characteristics and on the other towards the annihilation of the sign itself.

Alfio Mongelli
Professor of the school of sculpture of the Academy of Fine Arts in Rome.