Technically speaking, one can say that
George Michopoulos achieved the prismatic analysis of light
- a main goal of the Impressionists painters - and for this
reason he has been characterized as the first "Impressionist
photographer" by the director of the Greek National Gallery,
He succeeded in this by utilizing the
photographer's ultimate tool and substance: "ΦΩΣ",
which in Greek means LIGHT.
Metaphorically speaking, one can say that
he used his technical skills, along with his thirst for emotion,
as hands to open "rectangular windows" on the thick
layer of emotionless fog - created by technocratic values
- which hides a dreamful nature. The "rectangular windows"
are his pictures and through them a rebel nature shouts at
us our responsibility for the existence of the fog. The universality
of tight and nature guarantees the universality of what one
will see through the "windows" whenever he opens
them, anywhere in the world.
In other words, he succeeded in recording,
on a piece of paper, memories of nature's face and soul, which
passed through his emotional insight, as if this was a filter
mounted in front of his lens.