"I work from my heart. There is no clear-cut idea of what the reaction to my art should be. I just invite you to consider it for a moment. By showing what is not beautiful by default, you come to a conclusion yourself. For that you have to let go of your ideas about beauty first.
The funny thing is that the portraits I work with are beautiful. At least, I think so. I can see those faces so I know how attractive they are. But who am I to tell you what's beautiful, like the media do, the internet, the whole world? "
By concealing the faces, i remove any distraction and invite the observer to slow down and join the dots in order to seek out the hidden. I guess the real power of the final composition is what can't be seen.
I don't set out to control the outcome of each piece but rather i want the observer to empathise with the subject through subtle suggestion.
I view laughter as a statement of power and courage. In order to cultivate a sense of humour in each piece, i channel my love of table napkins fashioned into swans.
Obscuring the faces of my portraits is designed to not only challenge traditional notions of beauty, but also to provoke, tease and confuse the observer
My background is Greek by the way, we Greeks have a complex relationship with food. Ever since I was young, it wasn't about anything else. Eat more this, have some more of that, but not so much of that, this is how you make that, this is not how you make that. Even without explicitly referring to love, food means love. Food is everything and everything is food. Just look at achieving the same degree of intimacy, love and security without food.
Drawn to the surreal and unsettling, i seek out the unexpected connections between humour and tragedy. Ultimately it is the way in which collage art challenges traditional notions of aesthetics which i finds most appealing.