-How did you start dealing with ceramics?

It was in 1984 when I visited the workshop of a family friend ceramist. I sat all day I found myself sitting in her premises as an apprentice.

-Ceramics as wind instruments simultaneously. How is that?

Clay and generally Ceramics are an integral part of human development, the labor, the construction of tools for the control of natural materials, both for the convenience of everyday life and its needs, as well as for the creative expression of thoughts and feelings. The construction of ceramic musical instruments, especially the percussion and brass ones, has a history of thousands of years. In this regard I have not done something new. What I tried to do was to give sculpture and music functionality features to my work, harmoniously combining the form, the texture and the color with the nuance and melodiousness of an ocarina.

-What re your sources of inspiration?

Man, society, nature, animals and plants can all be the cause of inspiration, as it is said. In my last job called “the bird-shape wind instruments”, the ocarina is a pleasant challenge to "marry" the pottery with music that I have also been dealing with for many years.

-What are the steps required to create a project?

Generalizing, we can say that the work is born from a draft on paper, or the shaping of a piece on the wheel by hand. The decor comes next, which can be engraving or painting, by adding and removing volumes attributable to the issue. At the stage when the clay dries, the audio devices are formed and the project can already act as a wind. After follows the baking in the plaster furnace. The procedures of the creation of a piece of work can change. The ceramic art has unlimited potential, application techniques and "methods".

-How much time is required to complete a piece of work?

This is relevant ... 2-3 hours to ... Years.

-Where have you exibited?

I have participated in many solo and group exhibitions, while I had the chance to display my work in my own space. As the most important exhibitions I consider my three participations in The Panhellenic Ceramics Exhibition and the ones in Kamari in Santorini, in Chatzigiannio Foundation in Larissa, at the Zografos Cultural Center, and the last in Vasilika in Northern Evia which was a come back to the place I lived for many years and used to have my workshop. I refer to these exhibitions because they were milestones in my path marking it and breaking new ground. I have even presented my works in Oia and Fyra in Santorini, at the spiritual center of saint Paraskevi, the one in Halkida, in Nafplio, etc.

-Which of your pieces do you think have been loved more by the world and why?

I suspect that the pieces the people were most fond of are generally the ones I created most lovingly. I think this is one of the main conditions which becomes clear when a display my work and talk with people.

-How is art treated in times of crisis?

Speaking for me, I prefer not to refer to myself as an artist and nor to my work as a sort of art. This is a matter for others to tell. I am satisfied by just doing my job with zest, deepening my knowledge and evolving. In the context of the crisis the same restrictions and the same problems apply for me as well as for all of us. The crisis has not only serious economic consequences in everyday life. It influences the mind, the heart, and all of our functions. It is important to reflect on the causes of crisis and to resist to the effects of it, to what drives us back and breaks us down. My work, the pottery, is one of the means of resistance and humanization in the context of the crisis.