A series of small drawings served as a starting point for my work. I drew pebbles which had holes through them, studying the relationships between voids and solids, and the shades formed as the light passed through the holes. Then I began projecting them in our living room (I later made a series of dryotypes). Their shades grew enormous in size as they were projected on the ceiling, the wall, the door, the furniture and all the household objects which they distorted. Looking more closely at the effect of light and shade on these objects and surfaces I was faced with the problem of the autonomy of materials. That is, how to safeguard the uniqueness of each material (wood, stucco, cardboard etc.) both in the light and in the shade without allowing it to disappear under a coat of colour (paint or ink). Each surface of the material (stucco, wood, asphalt, metal, etc.) consists of a series of random episodes which stem from the composition of the material, from the wear it has suffered in use, from the traces left by the human hand that worked it, and all these features vary according to the way in which the light falls on the material at the given moment. Depending on how it has been plastered, how many coats of whitewash were applied, and how it has been used, a wall will have irregularities of various kinds - brush-marks, scrapings and worn parts - in addition to the unique texture of the whitewash itself. The asphalt we are accustomed to seeing as a smooth, grey strip has a material texture all its own and a wide range of these episodes. I study the particular quality of the surface of each material in the belief that it is a part of the landscape/environment of the city.

R. P., Design in Greece, October 1979