'It has taken me a long time to figure out how to handle paint. I moved to California from Greece about 8 years ago. I was encouraged to paint the figure. My painterly marks were reminiscent of the Bay Area Figurative tradition. I laid it on thick with gusto. I was seduced by the sensuousness of paint. But I spent a number of frustrating years feeling stuck and felt I could not progress. My marks always had a rapid gestural quality and I wanted to bring the element of time into my work, but always reached an obstacle within.
Due to a lack of storage space and economics, I started to work exclusively on paper, cardboard or panel. It was completely liberating. The weight of hundreds of years of painting was lifted off my shoulders. These smoother surfaces (versus canvas) can only take so much paint before it starts to come off as you apply it. I experimented with less heavy layers, it was a joy to create flesh - coming at it from a new angle. I started looked to social media for imagery. A whole new world opened to me. I worked on more isolated imagery, and simpler forms. I discovered that I react to what I am painting versus perceive it. It has lead me to be more playful in content and take risks. My work now is really about isolating, breaking things up and putting them back together. My work, simply put, is merely the act of working out the physicality of paint, forms, the human figure on a rectangular surface.'