Photography Yiannis Psychopaidis contrary to the above selfevident even if they seemed original at first glance distortions of the photographic medium made possible by Polaroid initially used the small instant photographs as a notebook of visual notes. Like Delacroix’s infinite drafts like a pad of sketches that made up the swirl around his model rendering the multiple viewing angles. The final painting thus contained through its definitive angle all the aspects that the Polaroids had captured but without ever being completely faithful to a single photographic capture.
Based on his photographic sketches Psychopaidis adopted e-commerce photo editing a painting technique completely different from the photographicpainting impressions of the photorealists who using only their technical skills as a weapon reproduced a photograph in painting. Psychopedis built his painting little by little with numerous traces of his colored pencils giving the final result a sense of photography and not an imitation of photography. That is to say his inspiration based on the fascination that photography exerted on him and on the multiple photographic impressions of the same model resulted in a pictorial reference to photography and not a pictorial imitation of it.
An undertaking much more internal interesting and substantial because it is based on a dialogue between photography and painting which must end in a triumph of painting with traces of dialogue. And that’s exactly what it did. Psychopedis built his painting little by little with numerous traces of his colored pencils giving the final result a sense of photography and not an imitation of photography. That is to say his inspiration based on the fascination that photography exerted on him and on of the same model resulted in a pictorial reference to photography and not a pictorial imitation of it.