Patision, 151 Athens, Greece 11251 Phone: 30 22860 28385


I started painting at a young age and continued into my teens.  When I came to decide about a career, although I had an appreciation for contemporary art, I found the art, and art education around in the 70’s and 80’s, unsatisfying.

I became a landscape architect and really loved my vocation of designing gardens, which I continue to practice.

As middle age approached my urge to paint became undeniable; at this time I discovered an atelier in Toronto teaching classical technique. I slowly launched myself into a full classical training, eventually finishing a four year program at the John Angel Academy in Florence, Italy.  Having somewhat immersed myself in classical painting I spent the first few years in Greece where I moved next, painting portraits, still life and figures.

In spite of having a classical training I maintained a deep interest in modern and contemporary painting.  About 3 years ago, I embarked on a series of paintings to help me integrate some of the ideas that were occurring to me from influences in contemporary art and culture with some of the classical cultures that I cherish. Although I was never a sports fan I found in the action, emotionality and color of contemporary European football a compelling subject. The free intermingling of movement, emotion and color in a football match provides both interesting, formal and psychological aspects for me to respond to. The work has helped me to explore many aspects of painting, art history and its relationship to the human condition and to develop a deeper sense of my own artistic voice.

As a painter I am interested in many sources throughout art history and consider myself an “integrationist”. I believe in a free exploration and borrowing of influences from any source the artist finds relevant. I believe the art would is gradually opening to a broader perspective of what is acceptable in paintings. This will allow in the coming years for an interesting dialogue between the once strict rules of classical painting and the constantly changing and sometimes limiting biases of contemporary art thinking and commerce.