These three paintings were inspired by the famous Romeo and Juliet (by W. Shakespeare) but also by medieval fairytales of young princesses and princes /warriors and their forbidden love. I included a painting for the poet himself as he is creating the story. The place is undefined but filled with neoclassical buildings (perhaps an influence by Engonopoulos).

I gave each painting a dominant color to symbolize each character and used the golden /yellow hair of the girl to unify her with her lover. Hence the position of these two paintings is restricted. However if wished, one could place the third painting with the poet somewhere else.

This is the result painting of a smaller study with temperas (that I've lost). Their main (and perhaps only) difference is the vividness of the colors and shades.

The subject of this image share many things in common with the Fairytale triptych above.

The painting is framed with a black wooden frame.

These paintings were created at around 2005 with a clear interest in perspective and geometry. However I wasn't satisfied with the background of the two figures and finally I changed it completely in 2009. As many of the other diptychs there are some key elements to each image to link with the other.

The painting is heavily influenced by the work of the famous greek surrealistic painter George Gounaropoulos. Using his technique (and his usual color range) I created a gigantic tree on top of some island houses on a hill (there must be an influence here by the landscapes in Syros). This paintings belongs to (or rather started) a small series of paintings with trees.

Although I'm very fond of this painting, it must be considered as a study rather than an original work.

Its initial position in the site was with the appropriation works but as it doesn't copy or change another painting I placed it here.

Perhaps this is one of the oldest works in the site. It includes two smaller paintings inside the painting and a clear influence by renaissance and mannerist paintings. The image at the center of the painting was an older original painting now lost.

The mannequins here are almost completely human-like with quite unusual manneristic poses (and stretched figures).

I kind of like this painting even though there are many small flaws with the most notable one the girl's upper body.

This is a copy of the work Madonna of the Meadows (also known as Madonna with the Christ Child and Saint John the Baptist or Madonna del Belvedere) which is a 1506 painting by Raphael (info: http://en.wikipedia.org/wiki/Madonna_del_Prato_%28Raphael%29)

Unfortunately due to the shininess of the oil colors I had some problems with the photo I placed here. I took the shot from the side without flash which resulted on a more blurry and contrasted image

Copies of paintings by Vincent van Gogh. The paintings are La méridienne, also known as La sieste, d'aprés Millet was painted from December 1889 - January 1890 (info http://www.flickr.com/photos/wallyg/1389660699/), Wheat Field with Cypresses (1889) (info https://en.wikipedia.org/wiki/Wheat_Field_with_Cypresses) and a Self-portrait (1889) (info https://en.wikipedia.org/wiki/Van_Gogh_self-portrait_(1889) -made on paper).

I admit that I 'm satisfied only by the first copy -the last two fail I think both in color and texture.

It's an appropriation work based on the painting Personage Throwing a Stone at a Bird by Juan Miro (1926). I haven't made so many changes: the yellow land is made gold, the eye of the figure is painted red, the figure is throwing a heart, the ball is changed into a bomb and the arrow-curvce into the symbol of euro. Above them there is a wooden sign hanging outside the painting. The sign is painted white and carries the word Feeling with fading black letters. It' s an erotic painting.

These are two different paintings of Caravaggio, that I decided to combine. The first one is called Sich Bacchus (and many scholars believe that is a self prortrait of the artist). The second one is a detail of Mary Magdalene crying in the painting The death of the Virgin. My only change is that the boy at the left doesn't carry flowers but guns and explosives giving another meaning to the weeping of the young girl next to him.

This was one of my first appropriation works (copies of known paintings with deliberate changes in order to produce a new meaning). 

The base for this painting was The Kiss by Gustav Klimt. I left the painting unfinished, with almost no color (there is only a dark and dirty grey background in place of the shining gold Klimt used). Especially the kissing couple remain mostly as a sketch, two disappearing figures on a colorless background.

I suppose this painting gives (or tries to give with its colorlessness, its uncertainty, its unfulfilness) the opposite kind of feelings than the Klimt work.