1. What is the concept of the upcoming exhibition in February?
 
The main idea is that although sociologists talk of the disenchantment of the world, artists respond by defending the return of magic in contemporary art. When man loses his material goods, fantasy comes back into his life and art enchants him from the beginning. The myth of the artist returns and art finds its origin again. What the twelve artists suggest to the viewer is to discover from the beginning the figures within the chaos of this era, his emotional relation with art and the lost mystery in art and life at the same time. In fact, they talk to him about the magic of life, the tale or the myth of it. 
 
2. Do you believe that crisis made things more difficult for artists?
 
It is true that, apart from some exceptions, many artists who have been showing their work during this period often say “I didn't even cover my expenses for the exhibition” or “At least, I have covered my expenses”, once the exhibition finishes. Some others cannot afford to have the catalogue of their exhibition printed or cannot afford to buy their materials. However, what I see is that despite the crisis, artists work ceaselessly, they don’t stop exhibiting their work and we still see even better works in the galleries. In other words, art flourishes despite all financial problems and crisis may be a challenge for many artists.
 
3.Who is your favourite artist of all times, and why?
 
In the beginning, I would say it is Courbet because I love France, realism and the people who behave independently and who usually disregard academic painting and education. However, I would rather say that my favourite painter is Soutine because there is a “devil-like” power coming out from his paintings. I cannot think of anything better than the expressionism of his work. It is noteworthy that this artist lived in conditions of sheer poverty in 1913, when he 
settled in Paris. However, the growing recognition of his work from 1923 and onwards allowed him to overcome his financial problems and at the same time his work didn’t lose its standard quality at all. There is a kind of tension and passion in all of his works that have a profound emotional effect on me.
 
4. What’s really the most difficult thing about your work?
 
My work has to do a lot with what artists have to say to you. You have to enter into their emotional world in order to be able to understand their work. In order to feel many works at the same time, you have to swift from one psychological state to another within seconds. This is not easy. Neither it is easy to transfer what they want to say on paper while making it clear to the public. That is the theoretical side. Concerning the practical side, it is very difficult for me to try to find sponsors in order to organize the exhibitions I want. 
 
5. What Greece means to you?
 
Greece is for me the place where I will always return to convey what I have seen and learnt during my wandering. It is also the place where I have learnt how to love. People sometimes ask me “What did you come back to Greece for?” and I get angry because Greece is the place where I have always wanted and still want to fight the way Greece has taught me to and as I myself know.