Glyn Hughes, Cyprus Weekly, 14.11.1986  

The best thing about the paintings by Rinos Stefani is that he knows how to use colour to give spatial structure to his imagery. This is a gift indeed. Even inspired teaching and a real understanding of post cubist art cannot fully give the young artist that ability. You have it or you haven’t.  Rinos has, in abundance. His paintings always have that rich and varied, yet fully coherent surface tension which comes of hours of working out through intuitive means, the right size, shape and intensity for a vigorous yet highly sensitive palette. Rinos was about sixteen when we had the coup and invasion and it is totally understandable that images of that time permeate his work. He has a master in ‘anguish’.

Glyn Hughes, Cyprus Weekly, 10.4.1987

When somebody who can use colour wrapped in spatial strength applies his talent to a fairly straightforward rendering of a landscape, the result is a reminder that the development of the Cyprus landscape is on the move again. Rinos Stefani is one of the most assured of the young painters with a firm grasp of cubism and a vigorous and sensuous attack with pigment. He is also able to apply symbolism connected with today which gives promise of even further developments. Rinos Stefani gives the Cyprus art scene a much needed contemporary persuation.

Glyn Hughes, Cyprus Weekly, 13.5.1988

Rinos Stefani is certainly one of our best young artists. His work always stands out in mixed shows. Solidly constructed and painted with sensual colour his thorough training gives him enough aesthetic ballast to take leaps into adventurous forms and subjects. Whatever his subject, his pictures have an internal truth. His landscapes are especially worth observing.  There is a new generation of artists who are looking at the Cyprus landscape with contemporary perceptions and Rinos Stefani is one of them.

The Cyprus Weekly 22  – 28 Απριλίου 1994, του Glyn Hughes (μετάφραση από τα αγγλικά)

Κάθοδος στον Ακάμα: Το 1991 μια ομάδα Πάφιων καλλιτεχνών ξεκίνησε την καλλιτεχνική ομάδα “Κάθοδος” και παρουσίασαν το έργο τους στους Τάφους των Βασιλέων. Αυτή την άνοιξη προετοιμάζουν ένα καινούργιο πρότζεκτ στην περιοχή του Ακάμα με τον τίτλο «Οικοτοπία» επιδιώκοντας να εκμεταλλευτούν τις δυνατότητες δημιουργίας έργων τέχνης με τη φύση. Θα ξεκινήσουν από την Ακτή του Αχαιών στην περιοχή Μάας και θα καταλήξουν στον Άγιο Γεώργιο της Πέγειας την Κυριακή 24 Απριλίου, 6 μμ.

Ο Ρήνος Στεφανή θα οργανώνει μια νέα «Πράξη», όπως ο ίδιος αποκαλεί τα δρώμενα του. Παρακινημένος από την προειδοποιητική πινακίδα της περιοχής του Ακάμα “Κίνδυνος, μην αγγίζετε» και τους στρατιωτικούς στόχους, δημιούργησε έναν στρατό με πανομοιότυπους Στρατιώτες – Στόχους και τους παράταξε κατά μήκος της ακτής. Το έργο αυτό θυμίζει μια προηγούμενη «Πράξη» του, όταν τοποθέτησε 20 πανομοιότυπες κούκλες – μανεκέν στην παραλία του Κόλπου Κοραλίων μεταξύ των λουομένων τον Ιούλιο του 1992.

Την Σούζαν Βάργκας απασχολεί η έννοια της «Βάρκας» ως αρχετυπικό σύμβολο. Η βάρκα δια μέσου των αιώνων έχει φορτιστεί με διάφορους συμβολισμούς, όπως το όχημα που μεταφέρει την ψυχή στον «άλλο» κόσμο, ως σύμβολο διακίνησης που ενώνει διαφορετικούς πολιτισμούς αλλά και σύμβολο μεταξύ φυσικού και μεταφυσικού.

Glyn Hughes, Cyprus Weekly, 13 – 27.11.1998

The last time there was a European discussion over the work of Rinos Stefani it was in Paris, early summer, when a friend observed – during the height of football fever – a rolling ball of trash collecting full coverage on Euronews.  Most of you will remember that it was Rinos who won the coveted prize for a tapestry during the Power House’s great Scottish event.  That work of Art is now in a Glasgow Museum.

The man who packed the Paphian beaches with mannequins, sent a ball of debris rolling across the same shore and sews a nice hem for an appliqué is also an excellent painter. He is thinkingly and creatively talented enough to put our post modernists into a spin. His more recent work is more abstract but is, if anything, more pigmentally sensuous; even if it is a fish causing consternation on the end of a pier. A bracing, life-enhancing work.

Glyn Hughes, Cyprus Weekly, 19.11.1999, Exhibition Opus Gallery

The most important aspect of this work is that Rinos is not afraid to express his artist’s roots. These are surely in cubism and human concern. Steeped in the great art movements of this century and with an aesthetic eye of his own he can afford to play with forms whichever way he likes. As is obvious in this life enhancing show he uses his considerable imagination and grasp of a larger palette than is usually seen here to produce works of considerable excellence marked by his own individual talent. The superb selection of high-wire figurations are full of tension. Nice, too, to see Eros used frontally.