The artistic result I have produced over the past years represents an attempt to integrate contradictory elements into an autonomous organism, allowing individual balances to emerge at one and the same time between materials, textures and forms. It is, essentially, a 3-dimensional non-representational outcome incorporating/assimilating thematic, painting and sculpture elements.

Forms and plastic values arise from a destruction-reconstruction process that is clearly revealed, contrasting with later interventions which are 'clean' and decisive.

By sidelining representation, I aim to produce a subversive outcome by means of pure plastic media.


Recycling of materials, and occasionally personal objects, is based on their emotive nature, while the predominance of wood, organic and often rough, helps me create contrast with the rest of the materials. For example, new materials may be involved in the process, everyday objects, digital printings of processed images, photographs, anything, for that matter, that may seem useful at the time of creation.


Starting from the standpoint that art is a social good, rightfully accessible to all, and that intellectual property should be shared by all, I choose to exhibit my work in widely-accessible spaces and spots with a history of socio-political tension, avoiding haughty art stores, which go against the social role of art and are contrary to my personal attitude to life.

A society without art or art education cannot exist/is inconceivable, and it is unfair and culturally wasteful for art to be exclusively available to the financial oligarchy.


The beginning of my involvement in art in the early 80s was a personal challenge and a commitment to keep a critical stance on social and artistic stereotypes.

In this context, I have been a member of several artistic groups over the years, hoping for a greater diffusion of our common ideas and attitudes, and exhibiting the individual artwork of group members.

The goal of these groups is to create genuine, multi-faceted and unconventional presentations based on cooperation and exchange of views, banishing egotistic individualism and the toxic behaviors it entails, as well as to interact with society and everyday life. In this way, real incentives are provided to avoid social indifference towards modern art and the isolation of artists as peculiar social elements.

Giorgos Nouvakis

June 2017