A poet of colors and shapes with intense post-impressionistic tendencies, Spyros Vassiliou doesn’t only do pop-art before pop-art even started but also a decade before the massive deduction of the 1960s and before surrealism still booms. He uses a more concise Laconic and expressive language. It plucks the descriptive element from their realistic environment, transforms it into a symbol, and reconstructs it into a personal sequence of associations. Other times, he is self-portrayed on a very small scale, always in the form of a painter with an easel or an outdoor painter, but also self-portraying hints about the course of art. The easel becomes the camera of outdoor photographers and in place of the small photographic work samples they have, Vasiliou places his previous works. His ability to observe and his self-esteem is something very clear. The painter extends from the photographer and the painting from the mechanical imaging tools, the camera, the printed photograph and the television. Source: pemptousia.gr