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.

HOW DO YOU SEE ART PLAYING A ROLE IN SUPPORTING COMMUNITIES OR ENCOURAGING HEALING?

Art reminds us of our humanity. It’s both a tool and a vehicle for transformation—a form of catharsis. It brings people together across differences, creating space for beauty, reflection, and shared experience. As both a mental and physical act, it demands presence and focus—qualities that can support emotional healing and help ease anxiety or trauma. When words fail, art speaks. And in communities facing disconnection or hardship, it can open doors to dialogue, connection, and hope.

CAN YOU DESCRIBE THE PIECE YOU CREATED FOR THE 4BYSIX AUCTION, AND THE EMOTIONS BEHIND IT?

This painting features a woman cradling a lion among lush leaves and fruit. It’s about inner guardianship—the quiet power of protecting something wild and sacred within yourself. The fruit symbolize abundance and tenderness, while the lion reflects courage, protection, and sensitivity. The atmosphere is calm but alert, holding that delicate balance between nurture and vigilance.

CAN YOU TELL US ABOUT THE PIECE YOU CREATED FOR THE AUCTION? WHAT WAS YOUR INTENTION BEHIND IT, AND WHERE DOES IT SIT WITHIN YOUR BROADER PRACTICE?

“Alone in the Universe” is a concept I explored for a year. The piece tells the story of someone searching for someone else to share a good moment with.

WHAT FUTURE THEMES OR PROJECTS ARE YOU EXCITED TO EXPLORE NEXT?

I’m drawn to mythological storytelling, fairy tales, and dream imagery—especially where they blur the line between internal and external worlds. I want to explore a series focused on women and animals as reflections of beauty, survival, and power. Eventually, I’d love to translate some of these ideas into sculptures—or maybe even books. There’s so much magic still waiting to be unearthed.