b. 1987 Thessaloniki, Greece.
2007 -2011 Bachelor of Economics, Aristotele Univercity of Thessaloniki, Greece.
2014 -2020 Athens School of Fine Arts, Greece.
-2019 “Artist Book” for the book «Invasion», jury Christopher Hudson publisher of MoMA
(prize money and books from MoMA).
-2019 “150 years of Greek Railways”, OSE Museum, Athens (prize money).
2015 Display Window, Circuits and Currents,Athens.
Selected Group Exhibitions.
2020 “Open Studios ASFA”, Platform Projects NET 2020, Digital Exhibition due to Covid - 19.
2020 “Graduand Exhibition of ASFA 2020”, StoArt of Ethniki Bank Insurance, Athens,Greece.
2020 “ Rest In Pool - Prodromos Charalampidis”, Marina Keas Gallery,Kea Island.
2020 “ Quarantine Exhibition ” Space 52, Digital Exhibition/Book
2019 “ Maximus Megaron Exhibition”, Maximus Megaron of Prime Minister, Athens.
2019 “ New Generation”, Marina Keas Gallery, Kea Island.
2019 “ InArt ”, Zina Athanasiadou Gallery, Thessaloniki.
2019 “150 years of Greek Railways”, OSE Museum, Athens.
2019 “9th Student Bienalle ”, Music Hall of Athens, Athens.
2019 “Poems and Painting -Titos Patrikios”, Embassy of Cyprus, Athens, Greece.
2019 “Artist Book” Nikos Kessanlis Exhibition Space of ASFA, Athens, Greece.
2019 "Graduand Exhibition of ASFA",StoArt of Ethniki Bank Insurance,Athens.
2018 "The symptom projects", Amfissa, Greece.
2018 "Visualizing poems",ASFA, Poems and Crimes,Athens.
2017 "Option 2", ASFA, Polytropon Gallery,Kalyvia,Athens.
2014 "Hotel",Cultural and Community Center of Eleysina,Eleusis.
2014 "150 years Eleytherios Venizelos",Venizelos Museum, Athens.
wax I natural scale I 2015
The main focus of my art is the role of the image, the relationship between the image itself and its photographic depiction and, lastly, the resulting narrative from the continuous images (montage). Some concepts that interest me are the illogicality of dreams, the sense of insecurity caused by a dream, the contradiction between utopian and dystopian places as well as the concept of borders.
My latest work “R.I.P” (Rest In Pool) mainly consists of a series of paintings. The starting material is a collection of images from movies, commercials, magazines, the internet and my personal archive. The need to view natural landscapes away from the urban noise is transferred to the white canvas, making the paintings act as an escape mechanism. Thanks to the various qualities of oil painting (layering, transparency, volume), imaginary landscapes are created. These landscapes sometimes depict natural or man-made utopias and other times depict dark dystopian places.
The subject is being enriched through the painting process. The water symbolises the fountain of life or a mirror. The wild nature with its vast vegetation creates a feeling of exoticism. Some signs of civilization (pools and fireplaces) act as a metaphor for human interference. Man is present (despite his absence) via the architectural interventions and the disastrous blaze that seems to be out of control.
The framing has been chosen as it would be in cinematography. Wide-angle shots capture the mansion’s exterior and the jungle. Close-ups capture details like the pool tiles or the reflections on the water.
Some landscapes are painted in a bright and vivid palette while others are painted with faded and limited colors, causing different emotions on each occasion.
The narrative begins with pictures of exotic landscapes which are afterwards presented as dark and bleak. Some burning palm trees announce the epilogue to the series, urging the viewer to wonder if the depicted landscape is on fire or if it just lies behind an idyllic sunset.
The house owner does not appear anywhere. The viewers are also outside of the scene, displaced from the landscape. The “final cut” of these fragmented pictures is performed by the viewer through their personal perceptions and experiences.