CM: Christos Antonaropoulos' Dewalling is an abstracted, rather than abstract work. It belongs to the earliest works of a series he called Dewallings, in which he creates a personal idiom, intensely abstracted and focused on the expressiveness of its morphological elements, yet avoiding representation per se. With such disposition Antonaropoulos retains something from the figure, in order to arrive at a special system of representation called in French 'décollage', which translates into English literally as unsticking. Décollage, in art, is the opposite of collage; instead of an image being built up of parts of existing images, it is created by cutting, tearing away or otherwise removing pieces of the original image.
Antonaropoulos recalls as one of the most interesting games of his youth trying to identify images where there were none and to propose them through small interventions. Thus, he took the casual, which exerted such attraction on him, and exploited it for the sake of art. The picture that emerged was existed between the conscious and the unconscious. His lesson was to undermine the image. Here, a slight impression of an upright figure is caused on a white wall as if it were affected by moisture, graffiti or posters that got weathered over time. "How many times - asks Antonaropoulos - have we wondered if we would like the Parthenon to be new, or if the patina of time makes it more charming?" It is a fact that time will either destroy something cheap or give preciousness to something with value. As if by magic it either underlines something or ruins it.
Antonaropoulos' Dewalling is painted not by brush, but with a sharp instrument or directly with his fingers. He was interested to evoke the corporality of texture on the work's skin, which in painting enhances the subject's emotional expression. Having learned from the art of Makis Theofylaktopoulos and Nikos Kesanlis - "I felt like conquering the world with a single stroke".