"By subdividing his artistic production into periods, Dimitris Chiotopoulos puts himself into a, so to say, diagnostic position with regard to his work, assessing it as a living body, with its own physiology and, therefore, able to evolve on its own, "naturally".

The extraordinary variety and complexity of Chiotopoulos’ language – which we can hardly classify among the trends of contemporary visual research – is in itself a proof of his most absolute indifference to what remains the highest aspiration, whether confessed or not, of every artist: to be recognizable at first glance and to pursue their own distinctive style, their decisive trademark.

The fact is that Chiotopoulos ends up an artist perpetually in progress: it is the path that fascinates him; not the goal nor the finish. Art remains a moving target, so that every venture of the sign and of the image, every audacity and endeavour of the form becomes for him not only possible, but necessary.

And it is definitely this signum contradictionis, this challenge to his own expressive means that becomes the leitmotif of his second period; triangular fragments of the image, with clear and meticulously drawn contours in a graphic-decorative style, "float" within a space entirely strange to them, in atmospheric depths reminiscent of Rothko’s vibrant backgrounds and spiritualistic concept of the pictorial surface; in fact, announcing that, for the artist, the time of figuration is expiring and that the non objective, abstract dimension will soon take its place.

An exceptional experimenter, Chiotopoulos confronts with highly effective formal and conceptual results what has always been, if not the utopia, every artist’s great dream: a synthesis of the arts - in his case the hybridization and interaction between painting, music and poetry – which recovers, consciously or not, the vastness of the creative horizon of the Renaissance artist."

Giuliano Serafini
Art critic