1999, House of Cyprus, Athens, Greece
by Kostas Stavropoulos
The latest work of Spiridoula Politi is closer to the mark and needs a high dose of dependence on her timeless sense of lyrical visual poetics in order to came across in terms of emotion, aesthetics, expression and communication. The poetic visual expression of her forms appears –at this moment- to be involved in a relationship of chemistry with the lyrical verses of Archilochos of Naxos and with the dramatic esoteric verses of Euripides.
These two important elements describe and set the course for the idiom of the painter who sometimes wears ballet shoes and sensitive, dreamlike clothes and sometimes changes into the bloodstained clothes of the embittered refugee from Asia Minor, well staged into her bitter compositions-Ionic columns-which identify themselves with the myth and the drama of that place, its history and its rich cultural geometry.
The images/words in the visual idiom of work and weave the dense canvas of her works. Her field of action and vision appears as a suitable space for shattering the rigid beliefs of dogmatic, rhetoric art.
Spiridoula Politi is adept in selecting her own spear- heads which are installed in the shrine of Aphaea as offerings to light and color; a poetic inroad into the depths of the dramatic visual expression of Eutipides. Thus arranged, her work does not need the arbitration of the written critical word. She has developed herself to the reception and understanding of the messages from the exhibition and the art of our time.