In Opy Zouni's art, all creative devices are employed in order to bring out a sense of order and clarity. Simple forms, diagonals, squares, triangles, are designed with high precision. Her abstract work is characterized by harmony and unpretentiousness.
Zouni is inspired by the real world and we can therefore identify two principal areas of focus: in her creative world, she tries to reconstruct nature's optical phenomena and to reproduce their enormous variety and their metamorphoses; she also tries to express the solitude inspired by the infinite magnitude of nature and of our environment. In some of her works, Zouni records objective and specific information which she derives from the rational observation of optical phenomena; in others, she records her subjective, emotional and very personal perception of the environment. In both cases, she uses the same creative language: geometry. Through geometry she can work her way to genuine expression and poetic abstraction.
For Opy Zouni, the observation of the world that surrounds us and of certain natural phenomena is an indispensable source of inspiration. Unlike other artists' traditional approach to geometry, Zouni adopts a process which is additive as well as subtractive, Utilizing very few representational and chromatic means, she reaches a point where one could stop, but she does not hesitate to introduce new or even older elements in order to renew the spirit of her work. A typical example of the additive process can be found in her installation "Perivlepton", a complex and theatric work which adopts geometry without setting any strict limitations and depicts her very temperamental freedom and impulsiveness. "Perivlepton" - fig. 304 - has the form of a contemporary sanctuary which one can walk around and view from several points; the appearance of the installation changes considerably depending on the viewer's position and one may see structural, pictorial, or purely geometric aspects.
Opy Zouni's creative spirit gives rise to a philosophical contradiction, since throughout her work the phenomenological and metaphysical aspects are both present. The former results from her desire to record optical phenomena as these evolve in space and time; the latter stems from her desire to delve into the ultimate and absolute knowledge of the existence of beings and of the underlying reasons for the existence of the Universe, in contrast with external optical phenomena. This co-existence of external aspects of phenomena, the reasons which underlie them, and their innermost essence, is the direct connection between Zouni's art and nature.

Bia Papadopoulou
Athens 1993