Courteous and cheerful, modest and with high moral standards as a human being, mercurial and enthusiastic as an artist and imbued with an
awareness of his responsibility towards art, Sophocles Christou works - with incomparable success - in portraiture, nudes, landscape, seascape,
still life, the portrayal of flowers, scenes from the day and night life of cities, villages, the countryside and the sea, scenes and compositions from
Holy Scripture, traditional locations and settlements, and the monuments of ancient Greece.

  An artist with interweaving tendencies towards abstraction and intention, a devotee, upholder and champion of the pure form of objects and of
academic, realistic aesthetics, Sophocles Christou attaches particular importance to the rendering of atmospheric colors, without this meaning that
he is indifferent to the attraction of the naturalistic trend; he possesses sincerity, conscientiousness and clarity of vision and a repertoire which,
pursuing its quests to the four points of the compass, reveals an artist who 'has arrived', an established artist, an artist of sensibility and with a boundless knowledge of colour values and the capability of producing a work of sublime technique and quality.

  Sophocles Christou, a master of small, medium-size and large organized compositions and scenes, belongs to a generation of creative artists who
respect tradition and by the technique of the elaboration of figures render objects in their natural condition, in a faithful rendering of them, and are far-
removed from artistic movements and schools of art, because they have the innate power of creation of their own artistic movement, their own artistic range
of a personal artistic style, of their own school of art, capable of winning the recognition, the support and the love of the art-lover and the public at large.

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In his long career, he has produced works which not only have rich emotional power but also
memories of the origins of the Greek race which are suggestive and moving, since they touch the
heart of our tradition, of our childhood, of our everyday experiences, of the yesterday, of the
today, of the feeling of Greece.

These are works of striking power and presence, some of which, belong to the world of trans-
cendence, of the beyond, of meraphysical disquiet and of an arrirude of prayer and expression.
It is work which reveals a world of marked spiritual activity, which narrates, which explores
the problems of the cosmos and which takes us on a peregrination of the world of silence through the force of its expression.

These morphological impressions give life 10 the past, lend it subsrance, revive it, and with
the artists penetrating sensibility and emotional questing transubstantiate it ontologically
into diffuse nostalgia and visual familiarity, making possible our communication with their
inner dialogue...
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ANEXARTISIA Newspaper (Novemer 3, 1953)

In periods of disruption, in periods when the need for the historical vmdicanon of a people
anxiously seeks some symbols to give it absolute expression, encounters with figures like
Sophocles Christou should not be allowed to pass without comment.
This handicapped young man with his bnght-eyed gaze, his kindly smile and his indomitable power
of survival would today have every justification for being a psychologically defeated human
being, attempting to balance a position in life assisted by human pity.
But pity proves a useless emotion from rhe very first moment of meeting with this young painter
On the contrary, as you look at the 47 delightful closely-worked drawings from his mutilated
hands, you arc overcome with awe ar the miracle, the simple but sacred human miracle which has
always been achieved by borh individuals and peoples with the help of an invincible faith.

Certainly, the young Sophocles Chrisrou had something to say to his fellow-men when he arr
ived in this life, before the German grenade deprived him, at rhe age of 13, of both hands.
And what he had to say he tells us today by overcoming the resistance of matter, as he would
have told us even if the grenade had robbed him of the rest of his bare arms, which, however,
it respected and with which he succeeds in creating his work of art because the faith and the
artistic fervour of this young man would certainly have found a way for him to express himself,
whether in music or in poetry or in some other expression of art, and to survive.

But regardless of any artistic achievement which it is vouchsafed to Sophocles Christou to
offer to art and to his country, the message which a time of bitterness and doubt has brought
to us, his fellow-men, would have been enough to rank him among the sons of this people who
arrive upon this earth with the splendid destiny of vivifying by their individual life the most
ideal truth of their times.
That is why those who have marvelled at the drawings of Sophocles Chnstou at the 'Parnassos'
and have seen the handicapped artist smile at them with his cheerful boyish smile have gone
away with the conviction that within the four walls of this small art exhibition a primordial
battle has been won yet again - the battle of the Greek race, which has survived by overcoming
the material ceaselessly, with fervour of spirit as its sole ally, whether this is in war or in
the heroic battle of peaceful endeavour.

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KIRYX PATRON Newspaper, (Tuesday, January 9th 2001)

Sophocles Christou exhibits at the Logou-Technis Centre

	It is true enough, then. 'There is nothing in the world more remarkable than man'! 
And here 'remarkable' has the meaning of 'worthy', 'irrepressible', 'strong'.
That 'remarkable' which subscribes to the 'image and likeness of God'.
The created being who hymns his own Creator with his own creation. Sophocles Christou is a
precise application of the saying that where there is a will, there is a way!
This 'way' of Sophocles Christou has been translated into an artistic event - knowledge,
technique, but, above all, talent.
His exhibition, this testimony of soul and sensibility, the aesthetics of the simple, of the
everyday, of the real, of the features which surround and go along with man, has made us
acquainted with a great artist who has recalled to our visual experience the beaut)' of the
Academic School, and particularly that of black ami white.
In a field which is notoriously difficult - over and beyond any other difficulty - Mr Christou
produces wonderful work with the pencil and pen.

His works have power and an exceptional plasticity, with a wonderful exploitation of light in the difficult but multitudinous shades of grey.
His great strength is, I believe, the expressiveness of his work, this play with the light,
shadows and perspective depth, and, further, his distinguishing characteristic, his descrip-

However paradoxical this may seem,Sophocles Christou succeeds in turning strict simplicity
into description. His subjects, a door, worm-eaten and studded, the rums ot walls, yards ringed
with stones, monuments, simple village harbours and shipyards, move the artlover like a reprise
the "return and ravish me" of Cavafy. It is a retrospective of a Greece which is being lost.

He has a particular fondness for stones; the stone-built or the stone-paved, in which the
stones by the multiplicity of the levels of their surface help him to demonostrate his
knowledge and technique, to show the aesthetics of his angle ot vision, from which he is able
to elevate the insignificant into significance through the extreme wealth of a range of tones
of black and white.

Moreover, the play of the reflections on the sea's surface, where their liquid element
refracts and refines the light without betraying the transparency of the water and its mobility
shows his firm classical background and his apprenticeship spent with some of the greatest
teachers of modern Greece. This exhibition is worth a visit not only for art-lovers but also
for school students, because such exhibitions are not merely a pleasure - they are an education.
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Critic and Historian of Art

... This artist is one of the most important portrayers of the open air in our modern art. He traces in his art and through nature the courses taken by light in all its fluctuations, by times and seasons.
He chooses those times at which the radiance of the landscape reaches the appropriate point for the presentation of the metapraxis of the socalled reshaping, which does not depart from the specific, but which, nevertheless, possesses the potential for Sophocles Christou to disengage it from its earthly weight

... Ruins of ancient Greek temples, chapels and alleyways on hills, settlements take on flesh and blood by means of Christou's pen, without any need for him faithfully to follow the outlines, to be enslaved by them or to draw them in.
He portrays the shadows with delicate striations and by condensing or spacing them renders the intensity or relaxation of the tones.....
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  Στο Σοφοκλή Χρήστου ταιριάζει απόλυτα εκείνη η ανώνυμη τυπική υπογραφή «ένεκα ταπεινότητας» που συνήθιζαν να βάζουν οι βυζαντινοί αγιογράφοι όταν υπέγραφαν τις αγιογραφίες τους: «ΑΝΑΞΙΑ ΧΕΙΡ ΕΠΟΙΗΣΕΝ» (καταλαβαίνετε τον παραλληλισμό)!


Ακόμη και αν η όραση του αμφιβληστροειδή ματιού του Χρήστου είναι ελαττωματική, ο Χρήστου την αναπληρώνει με την όραση της ψυχής! Η Μερόπη Πρέκα γράφει προσφυώς, οτι ο Χρήστου καταθέτει το ΦΩΣ ΤΗΣ ΨΥΧΗΣ ΤΟΥ και εγώ συμπληρώνω: Ο ΧΡΗΣΤΟΥ ΒΛΕΠΕΙ ΑΚΟΥΓΟΝΤΑΣ ΚΑΙ ΑΚΟΥΕΙ ΒΛΕΠΟΝΤΑΣ


Ο Χρήστου με το έργο του δίνει το παράδειγμα, ότι αν η τέχνη στηρίζεται μόνο στην αρτιότητα των χεριών, τότε έχουμε να κάνουμε με δεξιοτεχνία (τους λέμε βιρτουόζους), αν όμως στηρίζεται σε ψυχικά και διανοητικά χαρίσματα, τότε μιλάμε για τέχνη υψηλή. Περισσότερα
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There can be no doubt that, effectively, we have here an artist who combines vernacular and learned features purely individual manner. His organization is always so carefully studied that it often gives the feeling that it comes from the primeval origins of the soul of the people itself.
On the other hand, it is 'learned', because in circumstances does he depart from what one would call the inner potential for expression of the features which he gives us.
This is an art which is distinguished by its spontaneity, its immediacy, and its truth of expression.

  And yet, a sense of the aesthetic, simplicity, emphasis on the essential are what gives astonishing extrapolations to some the works of Sophocles Christou. This is because, over and above anything else, this is an art truly not of external,
but of inner truth.
The artist is not interested in external accuracy, but in the inner fidelity of the forms which he gives us, in what we would call the 'psychology' of the landscape, in what we would call the spirituality of natural space, in what we would call the very basis of forms.

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