The paintings' topics are ambivalent. In their compositions one can detect morphological elements, which the artist chooses to attribute with a child like, simplistic way upon the vivid color setting of his works. Skulls, houses, geometrical spaces, crosses, trees, mountains, aircrafts, chairs, fishes, animals, figures reminding us of arrows and cowboys are connected in an original and primitive way.

Molded shapes and objects, symbols and numbers, co-mixture on the canvass with letters, words and phrases which either mean or suggest. Usually the synthesis of these works- phrases seems almost impossible because the artist makes use of his/her own 'loose' painting idiom. Color is the catalyst in Nikos Lagos painting.

Large color surfaces of clean, vivid, sharp or strong dark tones diffuse in one another, overrunning the background of his synthesis thus creating, sometimes the sense of postmodern scenery and other times a simple, color, painting background.

His synthesis, usually absolutely crammed, full of colors and drawn motives or something with a minimalist approach of the painting field and its elements arrive from a stable internal geometrical structure. The external - outward mazy routes and the co-coordinative quotation, even if they are of phenomenal density and are presented within the boundaries of a clean synthetic shape.

The triptych: gesture - writing - brushstroke, as far as their technical idiom is concerned in conjunction with the triptych: slogan - idea - meaning, as far as their conceptual meaning is concerned, strongly characterize this artists work.

Very often, Nikos Lagos's works embodies comments for contemporary societies and our way of life, the communication (internet), thoughts and questions of man and artist but also comments for his work and painting generally. At the end, what is his painting all about? May be riddle-images that seek to be decoded? Mapping the modern way of life? Unanswered questions concerning life, man, death and the world around us?

The viewer is challenged to provide the answers to these questions by exploring the painted image through the procedure/game of personal and subjective reading.

Kristina Ristic at the same time exhibits (in the middle level of the art space) small dimension drawings, in an exhibition entitled: " Drawings ". This unit, which is the most recent, revolves around graphic motives, mainly figures. One could say that this work is a study of portrait. The basic 'axes' of her drawings could be characterized as discussions amongst two or more people. The dialogue between these two, prevail in the work of the artist, in an almost obsessive way. The heads-faces, as well as the figures that refer to scarecrow, are familiar grounds to paint, approach and explore.