I was born in 1959 in Prosotsani, near Drama, a city of northern Greece.
In my thought had been nailed that or i would discover alone what was taught in the schools of art, so i had not had anything to lose or i would discover something else different from what was taught in the schools of arts, therefore still better, i would be the original.
For this reason, i do not consider myself self -taught but self educated. I assume that Caravaggio, Velasquez and Rembrand are my teachers.
So, i have not studied in any school of art. Because the art is passion and the passion isn't taught
Up to the age of 25 i used to copy the classic painters in order to learn how to paint. I had been provided with books of art which i studied continuously.
The first exhibitions of my paintings had been taken place during the local cultural events. That period i was influenced by dali and magritte. I created my first compositions with symbolism. I could copy Dali with great precision.
In 1987 i was moved in Kavala, one of the most important cities of northern greece. So,here in Kavala, i started to prepare my first individual exhibition of my first attempts on abstruct compositions. That was in 1989 but the results were very disappointing against my expectations.
I painted rarely for the next eight years but i studied a lot about the theory and history of art.
Also, i continued to search for my personal style. Henceforth i can paint as impressionist, surrealist, as realist too, however, i am still dissatisfied with my style.
Again i think the schools of art are useless. My opinion is that painting is not a theory, it is not a science either . Painting is sentiment and it is not taught.
In 2000, with the change of the century, i drew a separative line.
Felling lost, i decided to follow the basic instructions of experienced wayfarers who consult that, as soon as you feel that you have been lost, the wisest action is to follow your footsteps backwards until you find yourself in known places.
Thus therefore, i started to travel back to the constant values of the grandmasters. I studied deeply the work of Leonardo Da Vinci, Michaelangelo, Caravaggio, Paulo Uccelo, Piero de la Francesca, attempting to captivate the ineffable merit of the work of the big figures of art. I was trying to arrest the quintessence of painting.
The station of this route is my painting " did Rembrand knows Altamira ? Looking at this painting, someone could see the " "night patrol" of rembrand painted on a rock surface of a cave, someone else could see an abstract painting with many colors here and there that luckily resulted in that classic piece of art (as, according to the theory of chaos, a chimpanzee pressing randomly the keyboard of a typewriter has the possibility to write Shakespeare ) some other could see a detrited cave painting of Altamira, which when rembrand faced it with its mat colors, he painted his classical work.
I was puzzled for months why the "night patrol" was so perfect piece of artwork? It was not, of course, because Rembrand painted nicely 20 - 30 people. But because of the perfect lines, colors, excellent light, everything on it was wisely painted in a perfect way with the right quantities in the space.
The magic of it is not the expressions in the persons' faces neither the colored clothes. It is something behind all these. It is that cannot be said, the ineffability. The edge between the remembrance and oblivion, as that has been said.