«This is work which expresses, with characteristic directness, the multitude of ways in which today's environment has been alienated and adulterated and the uncontrolled degradation which the environment has suffered in our times. It also conveys the emotions of loneliness, spiritual desertion and abandonment which that state of affairs suggests.
»The landscape, composed with originality in printed newspaper collages, is deliberately made impossible to identify so as not to set off trains of thought leading to something specific, and is seen from various angles.
It co-exists with the symbolism of which the artist is particularly fond (the planet Earth, the paved floor disappearing at the horizon) in such a way as οn all occasions to put across a presence which is self-contained and at the same time organically linked with the presence of the other works [...]. Ιn general, this is work which reveals maturity in composition, consistency in its quest and undubitable quality in its technique.»

Dora Rogan, Kathimerini, 21.1.1981

«"New Forms" is displaying Julia Andriadou's painting once more, in a unit of work which resembles an outline οf film of the issue of man's petrification and destruction of his environment at the hands of his own works. Andriadou's imaginary town plan drawings, which are sometimes reminiscent of Viera da Sylva's airy "cities", or take Max Ernst's "Interplanetary" approach to landscape a step further, spread themselves out with certainly and a deliberately uniform treatment of colour which conveys - more than the threat - the impression of a tangible and incontrovertible state of affairs οπ the battered and mortified crust of the Earth.»

Efi Andreadi, Το Vima, 23.1.81

«Andriadou has involved herself with an issue which in recent years has been constantly in the news and which for that reason runs the risk of becoming commonplace. As one would have expected, this theme has touched in a multitude of ways upon the sensibilities of the visual artists, who, in their works, have contributed to helping people realize the extent of the destruction which has already come about and of the menace which lies in wait from now on.»
In Andriadou's case, it has to be said that she has worked οπ the theme with originality and produces her own personal testimony through a singular visual transformation. The nightmarish labyrinthine mesh of lines and surfaces articulates an image of bare, dead cities left standing under toxic skies. What Andriadou has been particularly successful in achieving is that these painful ''landscapes of decline" are neither sensational nor repulsive. They are expressions, in an artistic form of aesthetic quality, of a view of an existing meta-physical reality.»

Nikos Moschonas, Eikastika 24, December 1983

«In her recent work, ρπ display at "New Forms", Julia Andriadou reveals to us a sensibility of poetic texture not only ίn the conception of each image but also ίn its execution, through the manner ίn which she has seen the composition and felt the colour. We can, of course, see ίn her creations her search for new renewed modes of expression - modes which are adjusted to the content of any given composition. However, the common element ίn all her work continues to be her liking for suggesting her vision in the most indirect manner possible. Οn the borderline between representation and abstraction, each of her works suggests the artist's message with characteristic directness ίn the viewer's mind.»

Dora Rogan, Kathimerini, 6.2.86

What concerns the painting is the urban landscape; the inhumane, barren, void, though full of life face of the city; the motion of lines and the stillness of mass.
The fragmentation of surfaces, which consist of newspaper cuttings, the chaos of unfinished words and sentences, the way the technical features of letters are exploited, so that each time different elements of the painting are expressed, reveals (the painter’s) originality of conception and dexterity in its realization.

Vagelis Kehriotis - “AVGI” Newspaper 13 October 1992

Lyrical and at the same time penetrating, (the painter) manages to pierce (the urban landscape’s) form, capturing it through her very own personal glance.
The artist herself says about her work: “The ‘ideology’ which determines my painting moves between two opposites poles: the negation of a place-the mundane, distorted space in which we live, which has been created by and for humans-and the poetic dimension of this very place-tracing back memories and dreams. The juxtaposition of the destructed urban landscape with the landscape of dreams is not simply a personal testimony but also an act of liberation, realized through the act of painting. (…) Variations of the monotony of the same, daily vision, with acrylic and newspaper”.

“SIMA” magazine (No 10) Sept.-Oct. 1992

In the '80s, first in the series Landscapes of Decline and Natural Habitat 2000, and later on with the series Secret Windows and Labyrinth-cities, as well as in the '90s, in the series Twilight Towns, [Julia Andriadou] uses an allusive idiom and surreal composition to speak critically about the contemporary urban environment which "pollutes and is polluted by human desire". In her recent series, entitled Wanderings, she is troubled by similar concerns on a global scale.

Excerpt from the entry in The Dictionary of Greek Artists,
MELISSA Publications,
1997, Volume Ι, page 56.

Her work tackles issues which include the urban environment, and her cityscapes acquire something of the nature of a surrealist, dream-like stage set. Her critical stance is obvious, but does not detract from the poetry of the imagination from which her images draw their power.

Professor Stelios Lydakis
Director of the Museum of the City of Athens
“VIEWS OF ATHENS” (catalogue – June 2004)

(…) The works of Julia Andriadou are often imbued with a silver tinge, a morning or afternoon hue (…) Her palette: permanent rose, ochre, cadmium red, black and burnt umber, cerulean blue, viridian, ultramarine (…) Everything mingles with that silver, the pigment of the waxing and waning moon (…). Andriadou’s works shift and expand, depending on the onlooker’s perspective. The colours change; playfully, musically. Another landscape in the void, at once dreamy and real, dropped across the sea, like a promontory (…) A stairway leads to heaven (…) These paintings of Andriadou have a cryptic feel; the colours whisper discreetly but firmly, and her subject matter is humans and the environment – in the state we’ve brought it into.

 Yiannis Kontos
“PRECIOUS METALS” © «ΚΕDROS» 2005

Having studied at length the visual world through her words and images, Julia Andriadou yields to levitational, dreamy ecstasis by way of putting forward a view that in this day and age counts as heretical, and claiming dynamically a place among contemporary lyrical painters.

Dr. Yannis Kolokotronis
Professor of Art History
at the Democritus University of Thrace
October 2009

Julia Andriadou managed very early on to mark out the space of her artistic creation, in both theme and form (...) On the verge of fantasy, she never becomes exceedingly surrealist; on the fringes of lyricism, she does not succumb to lachrymose, facile melodrama; implicitly figurative but not representational; modern, but not gruellingly and compulsively 'innovative' at any cost, her painting traces consistently a long-running course whose every step is organically linked with the previous ones, always adding a new, vigorous artistic and intellectual component.

Antonis Fostieris
"Exhibition Catalogue"May 2016