YOUR WORK OFTEN FEELS LIKE A LANDSCAPE OF MEMORY. HOW DO YOU APPROACH BALANCING THE REAL AND THE IMAGINED IN YOUR PAINTINGS?

Balancing imagined and real is what I have been doing my whole life. It is a coping mechanism to deal with everything (beautiful and chaotic) life is and that is also reflected in my work.

We often use memories and personal experiences to help us deal with present situations. It’s our library, the pool of pictures, shapes and colours in our heads where we draw inspiration from to create.

You know, it’s like when you feel sad, and you open your favourite poem book expecting it to heal or somewhat support you.

YOU STUDIED UNDER INFLUENTIAL FIGURES LIKE ANDREAS SCHULZE AND TONY CRAGG. HOW DID THEIR GUIDANCE SHAPE YOUR PRACTICE?

Studying under these brilliant artists was nothing but inspirational. Each one with a different energy and mindset.

Working with Mr. Cragg for almost two years and learning to think and work in ‘three dimensions’ was a unique challenge. This helped me later with painting. That’s why I suggest to every painter to do some sculpture-work at some point. It helps you dive deeper into your forms and see what you are painting from many different angles and perspectives. You ‘move’ around the artwork and get to touch it.

Sculpture teaches you to look closely at your subject…

GROWING UP IN CYPRUS, HOW HAS YOUR HOMELAND INFLUENCED THE COLORS, FORMS, OR THEMES IN YOUR WORK?

" I can tell from your paintings that you are coming from a land with a lot of light "

A comment from my former professor Mr. Schulze that stuck with me. That was the moment I realised how blessed I was to grow up on a island like this, having it so unconsciously influence my work. From that moment on, I wanted to bring more and more elements from my homeland into my practice. Cyprus (together with all its paradoxes…) is an endless source of inspiration. The history, the mythology, the shapes and the colours… and also the smaller ‘invisible’ things like the salt in the air or citrus smells or subtle nature sounds.

YOUR COMPOSITIONS FEEL BOTH PLAYFUL AND MELANCHOLIC. IS THAT DUALITY SOMETHING YOU CONSCIOUSLY PURSUE?

Yes. I consciously try to keep the work playful and funny sometimes, because it’s an essential feeling that I think we are losing by growing up. Reminding someone to smile leads to hope. And being hopeful is what’s keeping us going.

Melancholy is such a nice word. You can find a lot of beauty in it. Melancholy, for me, means reflecting and using the outcome for your future benefit.

Being happy and/or sad is the most common state for all of us. Again, a game of balance.

WHAT DREW YOU TO PARTICIPATE IN THE 4BYSIX AUCTION?

What you guys do is incredibly meaningful. Homelessness is a tragic reality for far too many people, and if we’re presented with an opportunity to help—even in the smallest way—I believe we should take it. I try to be part of projects that make a difference whenever I can.

Also, I was very curious to paint on your canvases made from reusable materials. Sustainability is a topic I care deeply about (as should everyone…), and it often influences my work.

HOW DO YOU THINK ART CAN SUPPORT COMMUNITIES, PARTICULARLY IN TIMES OF CHANGE OR CHALLENGE?

Art is a voice. Artists carry it and express it—through painting, writing, music, dance, and more. In times of change or challenge, I believe it’s crucial to use that voice to support communities that may be struggling.

Art expresses issues, offers emotional support, and translates messages into a different, often more accessible, language. It can simplify, clarify, and uplift, helping us connect and understand each other better.

CAN YOU SHARE THE STORY BEHIND THE PIECE YOU CREATED FOR 4BYSIX?

For 4BYSIX, I wanted to create something hopeful. That word—hopeful—kept ringing in my head when I learned about what you do. This project carries so much heart.

I created Healing, a portrait of a person standing outdoors under the open sky, with snails sliding across their face. I’ve been in my own healing phase lately, and this image came almost instinctively.

We often turn to nature in difficult times—and that’s what the snails represent. A walk in the forest, a swim in the sea. Snails appear after the rain, like good omens. They’re also known for their healing properties.

They’re magical, weird little creatures that carry their homes with them. They move slowly and steadily—a quiet reminder to take life one step (or slide) at a time. Progress might be slow, but with consistent effort, we’ll get somewhere better.

WHAT’S NEXT FOR YOU IN YOUR PRACTICE OR UPCOMING PROJECTS?

I just delivered a new body of work for my upcoming solo booth exhibition at NADA in New York this May. It was an exhilarating—yet exhausting—process.

After a big project like that, I like to take some time away from the studio—not just to recharge, but to collect new stories and visuals. That usually means taking a trip, reading a book at the beach, meeting new people, talking, listening, sketching, absorbing. It’s my way of letting inspiration flow back in and blend with any old or new ideas floating around.

There’s something new coming up this summer, and I honestly can’t wait to get back in the studio and dive in.