By Ilaria Ferri

He was born in 1963 and is the most decorated sculptor in Greece. A graduate of the Athens Academy of Fine Arts, he has been a member of the Council of the Chamber of Fine Arts of Greece since 1994 and has also served on the board of the Association of Greek Sculptors. He has participated in solo and group exhibitions in his homeland and abroad: Belgium, Germany, Japan, and Romania. He has participated in over 50 international competitions, earning first place in most. His sculptures are in public areas, museums, private collections, galleries, and magazines in Greece and abroad. UNESCO protects some of them.

With the artwork Musa, among hundreds of participants, you became a finalist for the COMEL Prize 2024. This sculpture stands out for its fascinating connection between the classical representation of the human figure and the modernity of aluminum. How did the idea for this work come about? Could you tell us about the creative process behind this sculpture and what it represents for you?

For me the human body has been the starting point of all philosophical questions. Lots of aspects are questioned and investigated throughout the creation of a human figure -these representations cannot be monolithic; they don’t just depict a figure -the truth is that they are much more complex – it is what our ancestors have always been trying to express, and now is our concern…

‘Muse’ is a contemporary figure consisting of contemporary forms. Its meaning is to pass that “feeling”, it is a muse who touch your sensitive chords – more like a “kiss” to the viewers soul. Aluminum, as distinctive delivery material catches the viewer’s attention, they can feel its lightness though powerfulness.

You work with many different materials. When did you discover aluminum, and what intrigued you the most about this metal compared to others?

It has been a couple of years now since I am using aluminum in my art. “Nike” is another piece of my contemporaries’ collection -which had been exhibited in the Archaeological Museum of Athens- and I really like. I started using fine pieces of aluminum in my work for its strength and plasticity. As I was discovering its properties, I saw the potential and the big pros of this material. Its affordable price and raw presence make it perfect to stand for your artistic representation.

Nike

Is there a material that you feel is most aligned with your way of creating? How do you choose which one to use? Do you start with a precise idea, or do you prefer to be guided by experimentation?

It depends on the artwork. Classic art has its specific language, as well as contemporary art. All these languages are wonderful, and I really enjoy playing with them. After all, is what you really have. It can be a job, an assignment, or even an idea… What matter is to do art, then the rules are to be followed or to be broken, you choose, everything is permitted, but I think the delivery must be right…

Throughout your career, you have participated in numerous competitions and received many awards. What does it mean for you to challenge yourself in international contests? Has this experience influenced your approach to art?

My art stems deep from the roots of my heart, soul and body. It has been always like that, since I was practicing fine art as a kid. I am always happy to participate in international competitions, contests, after all it gives me a sense of relief, for all the agony of life that we live and to be exhibited. Contests and competitions are challenging, and people learn through challenges, and I like to apply these experiences to my art.

Many of your monumental works enrich public spaces in Greece and depict crucial historical moments, both ancient and recent. In your opinion, can art be a tool to narrate a country’s history? How important is it for you to bear witness to it?

It is difficult to give a simple answer to this question because of its complexity. It can feel wholesome to have made a modern sculpture for your country’s history, especially if that happened thousands of years ago, that alone has a lot of meaning about the necessity of art in humans. Even for the most recent moments of history, art has always that cathartic effect on people lives, memories, history…

Muse

Pegasus

Your works seem to embody two distinct aspects: one more institutional, realistic, and detailed (such as The Warriors of Salamis or Alexander Panagoulis), and another more ethereal and symbolic (such as Wind, Cosmos, or Musa itself). Which one do you feel closest to? Which of the two would you like to explore further in the future?

In the past I have worked more with classical art as it was more in demand, but I was always experimenting with and researching new sculptural languages throughout my career, either for some exhibition, or a call or just for mere pleasure and interest. Time changes and now there are lots of opportunities in contemporary art. For the future, I tend to explore new ideas and materials -I already have some ideas. Unknown and creation give me a sense of freedom as well as that thrill that is part of our nature.

Your work seems to bridge the past and present, tradition and innovation. How important is the dialogue between classical sculpture and contemporary art to you? And how do you manage to maintain this balance in your works?

Expression is what makes a sculpture alive. Then I must say that everything in the art of sculpture is based on geometry. So, even if it is contemporary or classic art, expression and geometry are my main concerns. The balance of these two is what creates that coexistence that makes things work with magic!

Warriors of Salamis

Looking back on your career, was there a moment or a work that you consider a turning point? A project that changed your perspective on art or marked a significant milestone in your journey?

I feel like two pillars within my soul, the “Battle of Salamis” and the “Pegasus.” Without, of course, underestimating the other works… Each one is a piece of my soul.