The polysemous work of Pavlos Nikolakopoulos is characterized by the artist's long-term research on the relations of man with the contemporary social environment. Sometimes resorting to the density of the expressional means and sometimes to abstraction’s simplicity, the artist creates a pictorial set of uncanny narratives that at first glance lead the viewer’s gaze to disruption. But Nikolakopoulos' art transcends the obvious as it settles in a kind of emotion/co-motion, aimed at awareness of the collective alienation of man in the post-industrial world.
The purity of the artist’s painting spaces as well as the unconventional methods of hanging his wall sculptures, leads the public's gaze to a circular view of the artwork, to a thorough elaboration of the details, creating conceptual synapses with the social content. It is the artist's intention to share “silently” and publicly his hidden thoughts for a new balance, a new collective experience, based on a network of actions characterized by trust, solidarity and cooperation. Using objects and organic materials that emphatically refer to sharpness, Nikolakopoulos creates a visual dialogue between the work itself and the cast shadows of its parts. Often combining these two elements with the use of a discrete sarcasm – as for example happens in the work Carnage of Ennui (2012) – the artist indicates ways to conceptually approach the course of alienation and passivity of man in the contemporary context of hyper-consumerism and social inequalities. This very context generates the need to develop a new contemporary humanism, to which Nikolakopoulos refers indirectly through social and human ecology, emphasizing the relationship of man – as a natural and social being – with the man-made environment.