Composed of conté and paint pen on a rose-coloured sheet of paper, Ophidian negotiates a space between abstraction and authorship. A striped curved form moves along the space of the artwork and intersects with linear black bars. Although the piece reveals little in terms of a legible narrative, it allude to the body and makes reference to the labour of the artist. The slight irregularities in the application of the media inscribe the artwork with a subjective dimension, ultimately complicating the distancing of abstraction.
Jaime Angelopoulos’s work emphasizes the materiality of sculpture by giving prominence to the raw substance with which the artist interacts. The viewer is confronted with her unique treatment of vibrant colours, textures, and contortions, as well as a spontaneity of gesture that is contradictory to the rigid nature of her medium. At first glance, the imagined forms appear to be completely abstract, but upon further inspection, subtle allusions to the human body become apparent. Traditional notions of media are thus rethought, as are conventional distinctions between subject and object. Angelopoulos also produces works on paper that complement her sculptural practice.
Angelopoulos has had solo exhibitions at Parisian Laundry (Montreal), Stride Gallery (Calgary), Gallery YYZ (Toronto), and Cambridge Galleries (Cambridge,ON). Her work has been in group exhibitions in Canada and internationally, including Material Girls at the Dunlop Art Gallery (Regina) and The Ruin in the Refuge is the Hole at Galleria 5 (Oulu, Finland). Her works are in the collections of the Ministry of Foreign Affairs: Canadian Embassy (China & Ottawa), Norton Rose Fulbright, ALDO Group, York University, the Bank of Montreal, and the Claridge Collection, and numerous private collections.