The first works Christos Karas painted after arriving in Paris in 1957 already showed evidence of his concerns over depicting the object and its place in the pictorial space. Even then, the external image, detached from its conventional, earthly context, had become part of a new reality, above the physical, in the realm of transcendence. Possessed of an outstanding drafting ability and extensive knowledge of traditional painterly values, Karas transcended the function of objects in their defined environment and static space by creating a painting style that conveyed poetry and magic. Vases of flowers, fruits, leaves, and birds are suspended in an infinite, indefinite space, which is also anti-realistic since it is lacking the stabilizing lines of the ground. The diffused luminosity that limits the contours of the form, the sparing-to-monochromatic palette, and the clean but often stiff drawing offer a view of phenomena beyond the range of normal vision.