What moves our curiosity, interest, and admiration is the fact that Theodore's work continues, through unique visual and conceptual angles, to be active and relevant, in other words, contemporary. For this exact reason, it does not seem to conform to its time nor does it unquestioningly accept a consensual state that dates the works in the past, whose primary concern is to seek the present, to listen to it and aim for it. This need, through the questions it raises, is always present. Nothing "retrospective" can take the place from which the work is done or from where it is perceived. The what and how ask, and the who and whom face these questions in the present. Time, Space, and Language are current and immediate.

This need expresses the present every time. Firstly, because most of the demands through which the work was completed at the moment it was created have not been satisfied by the era, mentality, or society. Secondly, because if their realization has gradually become ours, their demands are not individual but constitute a collective dimension that concerns the language that expresses them, either symbolically or literally, today. Thus, these demands cannot in any way (in terms of meaning and form they embody) exist only as remnants of another era or as remnants of a cultural heritage. By their nature, as shaped by the artist, but also as they participate in the surrounding reality, the demands, along with the works, have the ability to disappear if the circumstances tend to shrink them or if a regime tries to impose them. The ability for self-negation is inherent in the claim for self-determination. [...]

Denis Zacharopoulos