"... It is primarily what James Joyes said that emotion in art involves feelings that have not been accomplished ... Christina Sarantopoulou has long been on this road of overcoming. She is concerned about what can be considered "sculpture" today and grasps its work with a number of conceptual features and communication possibilities. It puts forward as a proposal a complete methodological system of expressive process and exhausts, based on this, any given idea. Its intention is to reduce the individual to a whole, documented plastic and research ideologically. From the sculpture unit to the "world" of the sculpture the path can be one or many. However, the result is legitimized only by the validity of the induction system. From the trace, from the indication, from the moral "implying" to the ultimate end, the fullness of the intellectual conclusion. From the fingerprint - the primary, heart-shaped form of the drawing - to the perforated, iron spheres of the sculptural impressions, the induction system remains one. The trail is completed and filed, while the process is legalized. Having conquered this basic idea, Sarantopoulou has a variety of alternative possibilities, sometimes by setting up her iron-prints as perforated levels with an aura contour, sometimes classifying the individual in a trail environment, sometimes "writing" with the filings on the iron , sometimes "annihilates" its iron material to extract the minimum unit and restart from scratch, sometimes playing with its compact and transparent form making various meta-numerical combinations. Thus, Sarantopoulou exhausts the possibilities of the material, without, however, exhausting or tiring the basic idea that supports these formations. Ultimately, the form, so elaborated, differentiates sense-perceived knowledge from meaningful knowledge, that is, from "understanding". » Manos Stefanidis Art Historian