The transformation of space into surface is one of the creative goals set by Opy Zouni. Segments of space are chosen carefully and perspective elements are transformed into pictorial ones. Functional aspects of depth become means of creation, their double function provoking a latent tension; surface is contained in space and space in surface.
Opy Zouni handles the choice of this vocabulary consciously and unfailingly. Colour is used as a characteristic of morphology and the choice of primary colours corresponds to the precision of geometry.
One becomes aware of an underlying culture with a fundamental structuring of space, the effects of which are still evident today, a modern parallel of antiquity in the desire to conquer, delimit and conceptualize space morphologically. Thus emerge surface-space pictures from squares, rectangles and triangles arrived at through grid constructions rearranged in verifiable numerical values. It is evident that, due to their perpetually creative relation to space, the pictorial elements are transformed anew.
In as much as the transformation of perspective into space corresponds to an ideological commitment, the will to represent pictorially the substance of space becomes all the stronger, this substance being defined, for example, as a group of columns in an open space determining direction. Radiating points of light produce movement and counter-movement, marking with precision the position of the corpora of space in relation to one another, and are then projected further in space, symbols of depth and effulgence.