CM: In her painting works Tita Stavrou focuses on theme of abstraction based on the aesthetic of textured mixed media. The particular way in which she creates her picture is a record that aims at a very personal kind of harmony. The process is a continuous addition and subtraction. The work results from a kind of spontaneity, which alternates owing to conceptual choices. The artist tries for feelings not to interfere with the work, so that the subconscious and insight may guide the creative process. Thus, she hopes to visually record spiritual information, which upon being discovered may surprise the viewer. There lies the meaning for Stavrou. All the rest are external factors, sterile and superficial that suspectedly blur the clarity of the subconscious.
The work's composition is set by spontaneous gestures. The artist is inspired by the materials that create a tactile matière and lyrical elements of eastern art in conjunction with European postwar abstraction. The viewer, who is familiar with her broader work, may discern that Stavrou takes off from a base of cold tones and proceeds by introducing warm elements. In the present work, repeated interventions left behind a faint and light curve, which is neither a landscape or object. This soft form without sharp edges and tensions in suspended in an immaterial universe. The challenge concerns that though Curvature was created from a material that protrudes from the surface, that is entirely concrete, at the same time it canceled materiality. Thus it kept being corrected - the material was coming and going - in order to reach a constantly changing balance, which seeks the acceptance that the viewer retrieves from himself.
Stavrou is basically interested in things implied. Anything blatant is for her an easy solution. Although the composition is full of contrasts of light and shadow, the first impression is of a mild situation with muted colors. Stavrou would have wanted the viewer - if pausing - to stay not because something caught his first glance, but because he may enter an investigation process in response to the picture. Moreover, the work incorporates gold color as a scarce and valuable, but also perhaps as misleading element. As all her abstract works, they do not repel the viewer as something that is evasive. She does not mind her works to remind the beholder an interpretation of his own, even morphologically differentiated from her intention. But she hopes that eventually she presents to him something timeless, intangible things, situations beyond emotion.