After all the painting bears the mark the trace of the artist's presence. On the contrary for every photographer excellent printing in a book is preferable compared to simple hanging on a wall. And that's because the photo is always a copy. The actual invention of photography was not made by Nicéphore Niepce but by William Henry Fox Talbot who discovered at the same time the negative and the positive. But with Polaroid we had a material identity of the photograph even if it was mediated by a mechanical and automatic process because the result was this and no other.
Polaroid was not a copy but the work itself. For the e-commerce photo editing photographers this was not a gain but rather a loss. Loss of an attractive and unique characteristic of photography since the materiality of Polaroid paled it is true in front of the materiality of visual works. She looked like the little sister who wore the much bigger shoes of the first born. But for the painters this materiality was something much more familiar. In fact from the moment one chooses to overpaint a photo he has the logical requirement that what makes it unique and based on an equally unique background. A painted copy also implies the possibility of more painted versions.
The one and only Polaroid thus bridges photography with painting in the material field. But even the Polaroid remains a photograph in its essence. That is it functions by itself as a piece of time and space and as an accurate description of it. All that is left is to hasten this particularity so that the painter can regain his sovereignty over the reality of which the photograph for him is only the reference and not the raw material. There are many ways. Psychopedis chose the two most important. First to intervene with colors on the smooth and neutral mechanical surface of the instant which he and second to line up many of these small surfaces in compositions so that all the photographs work as mosaics of a single project.