In her works, Bridget Michopuolos attempts to render testimony, in a modern vein, and with unquestionable artistic care, to neo-Grecian forms and to certain models of classical antiquity, blending them in compositions that deal with modern-day artistic concepts. Fundamentally, her paintings are compositions that describe architectures and architectural landscapes, taken from a rich inventory of archeological significances that reinterpret, in entirely new ways, the images of modern cities with evident references to Renaissance paintings and to Aldo Rossi’s graphic art research. Such references are clearly evidenced by the artist as she renders homage to the great master. The references to the classical architecture are the creative elements that structure her work. They confer to her paintings a certain compositive logic found in everyone of her paintings. In the end, such composition logic gives her work homogeneity of style and exposition. Even the choice of words Bridget Michopulos uses to describe her work depicts the American cityscape with new and exciting forms, as she manages to uncover in the ancient forms and models the common thread that links them together. Nor does she ignore the rediscovering of the fantastic elements in the image of the city. Her compositions, therefore, appear as dreamlike abstractions. Her cities are not constructible, but they are exciting even as they appear unlivable, almost outside of time and space. Perhaps this is the very reason why the human and naturalistic presence seem to be absent in her works. Looking at each of her works, however, one notices an enchanting sense of poetry that enraptures and whisks one away to images of gothic cathedrals and Renaissance ideals. They conjure up visions of Italo Calvino’s “invisible cities,” the paintings of Hugh Ferris and Giorgio De Chirico, or even the works of those magnificent 17th century visionaries such as Jean Laurent Lagay and Gian Battista Piranesi.
Also known as: Brigida Michopulos DiGenova