Korini finds himself suspended in a world of transition, affected by institutional inertia. The language of modernist abstraction becomes the center of his artistic practice and is often used to comment on ideological contexts, sourced from all the forms that Korini constantly explores and manipulates. Consequently, the viewer’s gaze is forced to explore the migration and reconfiguration of decontextualized forms, as symptoms of social transformations and certain ideologies, although in different ways. The struggle to claim autonomy for the articulation of one’s own space is perhaps the most significant trait of his recent works, situated at half-distance between formalism and social commentary, without belonging to a predefined artistic category. In pictorial terms, the forms that the artist now creates and recreates, using traditional techniques like oil on canvas, are a translation of geometric compositions generated by a computer. Their arbitrary nature comments on the to-and-from, between the real and the virtual, the physical and the digital of post-communist societies, in which the definition of the projection between the surrounding environment and the virtual one becomes confused, even though the real and the virtual are closely connected to one another as is the clash political inertia and social acceleration.