The importance of process in Papadimas’s work is further crystallised through his paired steel sculptures ‘untitled (two sentinels)’ which lay like black diamonds, solidly reflecting the other’s form as if just exhumed from the earth. Their composition is dictated, not by the application of color but by the use of reduced numbers, created through the continual addition of digits in multi-figured numerals. Applying this technique to the multiples of each number from zero through to nine, the natural tendency for numbers to form mirror-image partners of 0/9, 1/8, 2/7, 3/6, 4/5, 5/4, 6/3, 7/2, 8/1, 9/0 is exposed. The sculptures have almost a biological quality at odds with their precise form.
[…] By focusing on these central numerals, emphasis is moved from the sequential properties of numbers to a concentration on their inter-relatedness. While visually, the pair could simply be the repetition of one shape, the assertion of difference from the artist reifies the importance of logical method in his work. Through their visual congruence though, he is able to both demonstrate his artistic priorities whilst commenting on the opposing and equivalent nature of the dualities that pervade our existence. However, this congruence in form is only obvious from a few stationary vantage points. As one moves around the pieces, their geometric form shifts. This effect gives the sculptures a flexibility, a movement and a type of responsiveness to the viewer at odds with the apparent solidity of their 3-dimensional form. The perceived movement creates a sensation of growth, succession and progression as if the sculptures themselves are slowly changing and evolving. (Charlotte Gloerfelt-Tarp)