[...] Where most artists put the body as the primary dynamic of their work, Papaspyrou transforms painting into a social and historical skin that is processed with art, wisdom, and dedication. Where most see the object as the beginning and completion of the work, Papaspyrou collects its dissolution, its dispersal, reads the collapse of its power, and composes its archaeology as the basis of the painting act. This is what the viewer is called to read and look at. A social space that becomes increasingly flat, but, like the skin, allows not a symbolic depth to be revealed from within it, but the reality of time, space, and their action on things.
This continuous transformation that time imposes and processes becomes the focus where the artist concentrates both his attention and interest, as well as the responsibility and significance of his role. From the walls of houses that, instead of ears, as we were once told, acquire eyes, we see them and they see us in their nakedness, but also through the traces of life they carry with them or hold on their surface, Papaspyrou finds the image that is no longer an ideological condensation, but a historical and poetic development. Her work is enriched with new elements over the years. And perhaps one should think of these elements first as the elements of nature, water, air, earth, fire. Houses erode, earth turns to dust from mortar, air scatters the traces, fire burns along with houses and the environment, and of course, one does not need to engage in storytelling processes to see if the house is by the sea or in the mountains. [...]

Denis Zacharopoulos
Art Historian
Artistic Director of the MMCA