Roussopoulos’s pastel abstractions, mobile forms, and monochrome geometries are at once minimal, expansive and luminous. They are exuberant and refined meditations on psycho-geography, political space and personhood. Roussopoulos explores the free and mobile body – abstracted to pure presence, at once changeable, responsive and creative – that dwells in the urban landscape or the distilled geometries of space. For its femaleness and poetry, we agree wholeheartedly with curator Brooks Adams: Roussopoulos’s work should be compared to Georgia O’Keefe’s American masterpieces. Her work conjures Heidegger’s dwelling: in which being in the world is the nature of being itself, its etymology implying, on one hand, building, on the other, cherishing, and protecting. Of Swiss and Greek descent, Roussopoulos was raised in the creative and political nexus of the counterculture of Paris ’68, whose legacy of feminism, activism, creativity and community – her mother was a well-known feminist filmmaker and activist; her father, a physicist, activist, painter and creator of architectonic kites – continues to inform her work. She dwells and paints in the same sky-lit modernist house in the Paris 14th where she was raised.