Floor mosaic, detail inspired from Piet Mondrian’s painting “Broadway Boogie - Woogie”, 2003
Materials: glass enamels.
Private house in Athens.
"New visual grammar": my personal exciting term to describe my main goal in mosaic art; Transforming an architectural function by respecting its utilitarian dynamics yet setting new visual rules. All mosaic surfaces bare unique characteristics adding a new dynamic to Architectural design, indoor and outdoor pavements and murals, 3D, utilitarian and decorative projects into public and private areas and buildings.
My techniques vary. Each project asks for appropriate binding materials. My portable mosaics are based on honeycomb support which is light and durable under extreme weather and environmental conditions. Massive mosaics are created in my workshop and are kept in position for as long as needed, without any interference on the actual space of placement. Usually, my goal is to lighten up any existing architectural surface in order to provide an effect of multiplied space.
To me, the cutting of the materials is quite a personal process. It actually feels as personal as handwriting does. "New visual grammar " is about positioning the tesserae in a way that makes sense. So as to provide a unique visual experience to an architectural environment without preventing it from being active, real and of service. After all, beauty and utility must always go hand in hand.
Each piece of mosaic tessera is absolutely unique and it must be treated as such. You can't position the tesserae just one next to the other. Each one is cut by hand in and old and traditional manner. Mosaics are not tiles. They are a mystery. As I see it, mosaic creation seems like an endless game between light and shadow. And what really makes the end result so mysterious and enchanting is that even though mosaics practically remain unaltered, simultaneously, due to their game with light, they constantly seem different. Always the same, still always different.