I started my artistic career building a vision under the influence of iconic Byzantine art, acquired throughout my study years as an artist and restorer, enriched by the lessons of Gustav Klimt and Friedensreich Hundertwasser and opened to the vocabulary of ancient civilizations and multi ethnical imagery.
My paintings have a direct visual and symbolic side, built around a conceptual inner message and surfacing through the voluptuous display of textures, signs and structures.
The use of early metallic covered surfaces originates in the spiritual practice of icon painting, in contrast with the study of metallic or synthetic structures, which allude to the imagery of contemporary industrial design, sustaining a dynamic dialog and questioning our perception and cultural identity.
As a normal development of an artistic vision, I needed to add a new component to my work.
I included in my compositions sculptural shapes, enlarged representations of flowers and other natural or manipulated, artificial elements, which bring along new meaning and visual power.
The juxtaposition of these new elements to the decorative structures creates dramatic contrast and new added interest, or, in representing them on neutral backgrounds, the focus is on the shape itself, where drawing principles, the volumes and lighting become the important players.
I could say that the contact with North American art, mainly the creation of Georgia O’Keeffe and Postmodern expressions boosted my creativity into new territories and added new challenges to my work.