Her new show is amusingly entitled “Rancho Rat-King-Cougar” and, like much of her output, it’s a playful take on her life and relationship with her father, who she refers to as the “star” of her work. Papadopoulos’s pieces have depicted the Greek divorcé living in Toronto, flanked by young, hypersexual girls—images he often sends to his daughter to use in her art. Earlier works, in the form of scrawled thread drawings, have shown people drinking and dancing.
A good example is The Pros and Cons of Hitchhiking (Man Cave) (2013), a piece of stretched jersey cotton stained with mustard and shoe polish, and applied with latex paint, thread, and image transfers. “The title is a reference to an album Roger Waters [the English rock star] wrote in the ’80s about a midlife crisis—his fantasy of leaving his wife, going on the open road, and picking up sexy hitchhikers. My dad is a divorcé and fraternizes with a lot of very young women in my age range, but very different from me; that’s what I was surrounded by in my formative years,” she confides. Papadopoulos uses her own life as a point of departure, but aims to explore authentic narratives that connect to the audience in a broader way. “It’s not the craziest life. I just have aspects that show me how I relate to the world.”