COMMENTS OF FIVE GREEK ART EXPERTS

An80 Landscape in our paradise	C2g1067 Cactuses in the mountains	C1g166 Garden in a beautiful planet
A808 Figures hidden in our brain	A811 The forest of our brain	A809 Statues in the lake
C936 A bridge made by rocks	A812 On the surface of the red planet Mars	C932 Colorful maintains

1 COMMENTS OF CONSTANTINE KRINOS

No, it is not the work of Mussorgsky. It is real pictures of real exhibition of the work of the painter G. Koemtzopoulos in central gallery of Athens. My first impression could suit with the verses of Kavafis: “I seat and muse. Wishes and senses I contributed to the Art. Some half hidden faces or lines of loves incomplete. Some uncertain memories”. K. P. Kavafis: “I contributed to the Art”.

Contributes G. Koemtzopoulos (G.K.) to the art? Contributes something new, something that wasn't still revealed and wasn't said? Imports “uncertain memories”? Is it possible anymore something new to be given to the art? They were said and they were revealed all? Exists still something untouched and unrevealed? Do still exist unknown dreams? The untouched, the unrevealed, the unknown dream contributes to the art G. K. and delivers it to us as a gift of his boldness, his inspiration and his imagination. One can dare to give a positive answer and the enjoyment of his intellectual creation, mental euphoria brinks to us, the simple spectators of artistry.

However what delivers to us G. K.? Paintings delivers to us, with boldness and imagination with regard to their creation as a result of a bright idea. Plenty of phantasmagoric colors, poured one within the other with result however aesthetic. With “some half hidden faces or lines of loves incomplete”. With some vague, unknown and “uncertain memories”. Leaves thus the artist to the spectator to think and to create himself with his imagination and to supplement as he likes the painting that is offered to him, or even to remove what he considers unnecessary.

Forms vague or almost invisible wait for the eyes of imagination of the spectator in order to take entity and flesh, be transubstantiated in something concrete, whatever each spectator wants to see with his own eyes, his own creation, his own imagination. G. K. becomes this way the preacher of aesthetic freedom. He does not impose in his paintings to the spectator something certain, or final, or concrete. He waits for the spectator to give the form, -- he alone with his own will, his own boldness and his own imagination (and each spectator alone, completely independent and separately from the other), -- and to receive the picture and the message that he wants to see and to feel and not the picture that would offer to him another “concrete” painting. Also the spectator can give any title he likes in any of the marvellous, polychromous and multi-meaning paintings, without to be bound by the proposal of the artist.

We can accept or not accept the offer of G. K. We cannot however deny the originality of thought, his boldness, his imagination and his inspiration. We cannot, that is to say, deny his artistry. From this point of view G. K. adds something new and different to the art, and deserves our admiration for his various, polychrome and multiform offer.

When I sow for the first time the paintings of G. K. I tried to think what they remind me of, which painter, which school and what technique. I tried to classify him in one of my known painting categories, but I could not. In the end I was tired in this useless effort and search and I was sunk in the real target of his paintings, i.e. in the pleasure and the euphoria they offer me, and I accepted him as something completely new for me and different. The torrents of colors and forms, the orgy of his creative imagination, his obvious effort for the creation of what I see, they released me from my useless search of classifying him in the A, the B, or the C school and technique.

Because finally his paintings they don’t remind me of anything I known. Because moreover I like a lot to swim in the dreamy pictures that they present to me, for this offer, for this gift to me I feel very obliged. G.K. I thank you. Constantine Krinos-Panitsas, Art Specialist, Collector

2 COMMENTS OF YANNIS TSEKLENIS

Flying above the art of G. Koemtzopoulos who exposes these days in Artower-Agora Gallery I feel like seeing landscapes of the photographer Yann Arthus Bertrand. The forms and the combination of the colors, sometimes they brink me up as ascendant currents to the skies and other times they sink me down in chromatic abysses as we believe that they exist around the black holes of the universe. Generally speaking I see an art that combines artistic and decorative beauty while something says to me that it hides real explosions…. I envy it . Yannis Tseklenis, Fashion Designer

3 COMMENTS OF SPIRO VARANGKIS

The work of G. Koemtzopoulos is a splendid combination of mixed technique and abstract art, which links aesthetic and decorative force. Such work can very beautifully be included in building spaces, lending to them color and intensity. Spiro Varangkis, Architect and Decorator

4 COMMENTS OF GIANNIS STRATIS

Studying the work of G.Koemtzopoulos I realised that the main characteristic is the power of senses (“Sensualism”) that is created with the mixture of colours, the movement, and the chromatic forms. The result is fantastic, sensual and many times even erotic, that fills our senses and it transports us far, leading us where we would like to be led, taking the stimulus from the painting. Again sometimes the result is “Fauve” with the figures that appear and absorb us through the intensive observation. Supporting the words of Zacharias Papantoniou that “the A and Z in the art is the force of originality in combination with the harmony'' I believe that G.Koemtzopoulos possesses these two important elements in his work.

Giannis Stratis, Painter

5 COMMENTS OF SOPHIA ANGELIS

A UNIVERSAL ARTISTIC DEPOSIT, A KEY - WORK. Colors of rainbow, land and water, sublime and travelling, sometimes full and comprehensive, sometimes vague and dreamy, characterize the artistic work of George Koemtzopoulos.

Painting presenting fantastic subjects, prompted from the unexplored and vast subconscious, as well as processed photographs from his various travelling destinations, and the artistic “marriage” of these two, (i.e. painting and photography), suitably processed and unified in a new artistic synthesis with the help of the computer, on the surface of canvas or on illuminated plexigras, are the artistic means through which is mainly expressed Koemtzopoulos.

His painting, prolific but also pioneering, and more specifically for the Greek facts, although very often involves the computer process, succeeds to have a direct deposit of his soul, since is capable to make the spectator to travel in memories and recollections of the past, or in worlds of the future, or in fantastic courses, or in dreamy fabulous places full of music and perfumes, giving birth to various sentiments for the spectator – traveller, who can see all these with the eyes of his soul widely open.

The key - work of Koemtzopoulos is capable το open and release the sentiments even of the most impregnable heart, and its universality makes it accessible to the simple spectator, from every corner of the earth. Therefore is by no means accidental the fact, that his work was selected by a famous gallery of New York (Agora Gallery), in order to be presented to the international public. Sophia Angelis, Painter ENGLISH HOME PAGE

A813 A green blossomed fence	C2g318a The river with the heavenly rays	An246 Prisoner of the savages
C1g183 Garden in a stony landscape	An43 Targets we pursue	C1g212 The touching of our soul
Bg572 Flood in the slope of the mountain	C2g867 Coast in another planet	Bg582 The canyon that carries our hopes
Bd91 Reflections of ghosts in the pond	Bd87 The valley of our dreams	Bd92 Ghosts in the stream
Cd481 Angry sea in the 4^th and 5^th dimensions	Cd688 Red rocks in the 4^th and 5^th dimensions	Cd15 Colorful waves in the 4^th and 5^th dimensions
Cd413 Yellow cliffs in the 4^th and 5^th dimensions	Cd75 Valley by the sea in the 4^th and 5^th dimensions	Cd242 Trees by the sea in the 4^th and 5^th dimensions

An104 The Charlie Chaplin inside us	An130 The web that keeps us prisoners	An145 Our stony character	An131 The forest of life where we are lost