Soula is an artist and designer based in Melbourne, Australia.
Soula has a great love for both design and the visual arts. Beginning her professional career as creative director of ooi.com.au, a design company she owns together with her husband Theo, Soula also had the opportunity to exhibit her fine art paintings and prints at various Melbourne galleries.
Soula explores different bodies of work through many mediums, initially beginning by sketching before progressing works in acrylics and oils, various printmaking forms and egg tempera where subject matter permits.
Through whimsical characters, building facades and/or streetscapes, Soula’s subjects reflect her cultural heritage, travel, and personal life experiences – one of which is living with chronic pain.
A sea change from Melbourne now sees Soula Co Directing Queenscliff Gallery (QG) with her husband Theo on the Bellarine Peninsula. Soula more broadly applies her fine art and design experience by curating exhibitions and managing QG’s brand and identity.
Soula is represented by QG, housed in an 1868 Wesleyan church space. Her work is available at both the QG and The Convent Daylesford.
Love of the visual arts especially colour and pattern, inspired by both ethereal and earthly beauty has always captivated me.
My yearning to interpret the external world and my internal world , through the visual medium, is what gives me joy. It also helps me make sense of life’s journey. By drawing on my life, including my upbringing (family), my schooling, my travels, my daughters and husband, I am never at a loss for inspiration, for subject matter. It is also these very relationships and experiences that drive my desire to visually capture those reflections.
Thematically I take inspiration from these influences and the myths and legends of my heritage. Here I draw on the power and allure of the ancient goddesses and see these elements in all women today: by reflecting on the past, my art keeps me firmly rooted in the present.
My love of Matisse’s odalisques, religious iconography and Japanese woodblocks have all inspired how I approach my subject matter. Their serenity and stillness in a moment of contemplation and reflection (however fleeting that moment is). I like how they capture the transcendental in the ordinary.
The artform of pyrography allows me to celebrate a simple decorative style, letting the lines and colours work alongside the natural surface of the wood (something of the earth and so earthly) to tranquilly co-exist. I enjoy the interchange between materials and techniques, including, the egg tempera technique and the gilded glass technique of ‘verre eglomise’ that was predominant during the Renaissance period. My studio practice is continually evolving and I enjoyed my most recent intersection between the manual and digital mediums. The product a hybrid of analogue and digital montages, that so closely paralleled our world as we are living it today.
My art is simultaneously decorative, serene, sensual and grounded.
My plans are to extend my subject matter further into the realms of the imagination and to organically allow the interchange between materials and techniques and to allow myself to escape in the process and learn from where this journey takes me. Every stage illuminating the way. I find beauty and mystery in all aspects of life and that is why I pursue this enigmatic path and build on the mystery of storytelling.
Monash University Bachelor of Arts 1985
Monash University Diploma of Education 1986
Monash University Bachelor of Arts (Graphic Design) 1992
I believe in the free minded artist who in spite manifestos allows for a journey to take place, unknown, fearful and lonely, driven by a stimulus, recounting memories of his experiences of sorrow, pains, fears, doubts, the conscious and subconscious together, facing the challenge of planning the means of colour, form, space, balance, crescendos, materials, to deliver the essence and the magical poetics.
I completed my Tertiary studies as a scholarship recipient, at the School of Fine Arts Athens Metsovio Polytechnio. I majored in Painting and Theatrical Set Design under the guidance of Yiannis Moralis , Dimitris Mitaras and Vassili Vassiliadis.
As a practising artist I exhibited in solo and group exhibitions, got involved in architectural public projects, theatrical performances , children book illustration as well as Art projects for children.
I was born in Anninata, Kefallonia in 1936 and arrived in Australia 30 years later in 1966. I always had an urge to work with wood – to sculpt it, sand it and carve it. In 1970 I created the ‘Kri-Kri’ of Crete from a forgiving, soft wood and in 1971 the classic trireme. A third work was produced in1974 of a Dachsund. I did not refer to imagery or models for these work, nor did I intend to create them – it was as if they needed to be produced based on an internal desire. In the early 1980’s a similar urged prompted me to illustrate graphite images of nature and in time, I moved onto acrylic painting. During this decade, there were significant findings of long lost Chinese sculptures and these prompted me to duplicate one of the a horse’s head that was unearthed. I felt compelled to pursue my wood carving craving, without having had any professional tutoring and without obtaining any formal certification. I feel that I have no choice but to produce these works, as they are called upon from within.
Masonik is an Australian multi-disciplinary arts collective, who have performed, nationally and internationally since 2006.
Masonik’s immersive experience creates electronica / jazz-fusion / neo-classical and soundscapes layered with video projections. As Visual Artists, Masonik generates artworks based in graphic design, film, photography, sculpture, installation & theatre.
Masonik were regular contributors for the ABC Radio National show, ‘Sound Quality’ & were invited to record in the ABC studios in Sydney. Masonik has also created long form exhibitions and performances titled ‘Altar’d Lament’. These have been presented across Australia & Athens.
‘Altar’d Lament’ is a multi-disciplinary art installation and performance project. Though the critical locus of the project is the destruction of the cosmopolitan city of Smyrna in 1922, ‘Altar’d Lament’ is a pantheon for Neo-rebetes.
Masonik embarked on a pilgrimage to Piraeus and Athens to confront ‘rebetiko’, a cultural form that can be simultaneously fragile and resilient, both comforting and threatening. Refuge for the exiled, the tradition altered creating a narrative to an open-ended underworld. So was created this Unorthodox Amanes Altar.
Joy is a multi-disciplinary artist with works in puppetry, painting, ceramics, printmaking, digital imagery, and traditional icon painting. Her work explores the patterns, rhythms, and marks of nature in painted and printed forms and more recently from coffee cup ‘reading’ pattern imagery.
In her painted works, she abstracts the natural forms to a series of graphic units of strokes and lines. With these units she uses a technically simple form of printmaking and painting to build complex layers of colour, depth, and movement. Moving away from representing the natural world in natural pictorial form, she deconstructs imagery using repetition of marks to create moving surfaces of colour which allude to energy fields, wave systems and other unseen patterns within the natural world.
Joy (Economos) McDonald studied Fine Arts at Sydney University (1970s) and graduated at the Australian National University in Visual Arts in 1997 after teaching for several years in NSW. Now residing in Melbourne Joy has continued her art career in abstract imagery both digital and on canvas.
Her work is in several collections both overseas and in Australia, in the collection of the Canberra Museum and Gallery and in corporate collections. She spent time in Canberra on the Board of ANCA (Australian National Capital Artists) was a member of Craft ACT where she often exhibited as an APM, (Aust. Professional Member) her last solo there being in 2013.
She was a finalist in the Fleurieu Biennale SA in 2008, and again in three categories with two high commendations in 2011. She received a Rosalie Gascoigne Award from the Capital Arts Patrons Organization (CAPO) Canberra and a recipient of two grants from artsACT 2011 and 2012 for a Centenary puppet stage production and children’s book in 2013 titled, The Very Sad Fishlady, which was performed at THE STREET THEATRE. This story, and its subsequent production, was inspired by her Greek heritage with connections to Kastellorizo, in the Dodecanese Islands of Greece.
In her early artistic career, Joy began as a puppeteer with Peter Scriven’s Marionette Theatre, The Tintookies which toured Australia’s country towns. Here she worked with Michael Salmon, the well-known Melbourne children’s author. Joy has had over sixty exhibitions (ceramic, painting, and prints) and several solo exhibitions in Canberra and Sydney. She lives with her Husband James McDonald, PhD, who is an academic and a historian, specialising in Classical Greek and Canberra history.
Constantine Nicholas (HatziYiannakis) was born in Perth, Western Australia and currently lives in Sydney. He is a 3rd generation Greek Australian. His ancestry is from the isle of Kastellorizo where his grandparents and many others migrated in the early 1900s escaping foreign occupations, and seeking a new life in Australia. Most landed in Fremantle, and other parts of Australia and stayed. Nicholas has always questioned his identity which has been an ongoing theme in his work. He creates rich and layered works, installations and digital projects. His work offers fragments, of text and imagery, citing colonial, aboriginal and commercial references which the artist uses to question his Australian identity. “An ongoing theme in my work is to use historical journals (other’s truth), maps and illustrations to present a ‘point of view’.
His new line of work since 2020, harkens back to very early works, are more abstract and less referencial in nature. ART LINES explores space, digital photography and drawing to create rich coloured abstract line-scapes. Visit lynkfire.com/Artcons9
Nicholas has participated in more than 70 exhibitions in ANZ, APAC and USA. Represented in Public and Private Collections in AUS, NZ, APAC, US, EMEA.
A long term teacher and practitioner of Sogetsu Ikebana (Japanese Floral Art) and a key member of the ikebana community in Australia, having studied for 18 years. Along the way was awarded multiple accreditations, culminating in the final, ‘Riji’, the highest accreditation possible outside of Japan. In 2014, spent three months in intensive study at headquarters in Tokyo as the recipient of the Norman and Mary Sparnon scholarship.
Teaching since 2004 and, more recently, commenced teaching monthly Masterclasses for the more advanced students of ikebana.
Participated in numerous exhibitions for Sogetsu Ikebana Victorian Branch and Ikebana International as well as a Sogetsu Exhibition in Tokyo. Was invited to be a guest demonstrator at the Ikebana International World Conference in Okinawa in 2017, to an audience of 1100 delegates and 3 Royal Princesses.
Conducted numerous workshops and demonstrations here, in Victoria as well as Brisbane, Wellington and Christchurch. Exhibited numerous times at the Melbourne International Flower and Garden Show and was awarded a number of prizes, including three firsts in the Shop Window Competition.
As the Sogetsu curriculum evolves, sculptural work has recently been introduced. This has given rise to branching out into sculpture. In 2017, in collaboration with another artist, created an outdoor sculpture for an apartment complex. In 2019, collaborated with artist, John Meade, in designing the 10 metre tall, street sculpture, Love Flower. Subsequently, is branching into large and more commercial sculptures and installations.
In 2020, due to the constraints of Covid-19, conducted a Zoom demonstration, hosted by the Mumbai Chapter of Ikebana International, shared worldwide and via YouTube.
‘A gesture in visual art is an expression of an idea or meaning which is presented and performed through the somatic effect on material and site. In other words, it is an expression of the body’s temporal rhythm, as well as a record of the body’s interaction and encounter with material and space.‘ Emmy Mavroidis
Born in 1965 in Melbourne, Emmy Mavroidis is a Master by Research candidate at the Faculty of Fine Arts and Music at The University of Melbourne. Currently, she is conducting research focusing on Drawing: Gesture, the Body, and Movement. At the Faculty of Fine Art and Music, The University of Melbourne, she earned a Master’s in Contemporary Art in 2020. Following her completion of her Bachelor of Fine Arts (Painting) degree at the Victorian College of the Arts in 1986, she earned her Diploma in Education in 1992.
She founded Nyora Studio Gallery in 2003, a thriving arts centre in Melbourne. Emmy teaches & mentors other artists through the Nyora Gallery Resident Artists Program as well as holding exhibitions and workshops on drawing and sculpture.
2021-current Faculty of Fine Arts and Music, The University of Melbourne, Victorian College of the Arts Master of Fine Art, by Research 2019-20 The University of Melbourne, Victorian College of the Arts Fine Arts & Music, Master of Contemporary Art 2003 – current Nyora Studio Gallery Director, Melbourne 1991 The University of Melbourne, Institute of Education. Diploma of Education 1984–1986 Victorian College of the Arts Bachelor of Fine Arts, Painting
SELECTED PRIZES AND AWARDS 2023 Artist in Residence at DRAWinternational Caylus, France 2022 Recipient of The University of Melbourne, Stuart Black Memorial Scholarship for excellence in drawing. 2020 Winner of the Arnold Bloch Leibler Award, Yering Station Sculpture Award, Yarra Glen, Victoria. 2020 Grant awarded, Nillumbik Shire Council. Time of COVID-19, Art and Cultural Development, 2019 Montalto Sculpture Prize, Finalist, Montalto Vineyard and Olive Grove, Red Hill, Victoria 2018 Lorne Sculpture Biennale Small Sculpture Prize, Finalist, Lorne, Victoria 2016 Winner, Yering Station Sculpture Award, Yering Staff & Directors Choice Award, Yarra Glenn, Victoria 2015 Adelaide Perry Drawing Prize, Finalist 2014 Doug Moran National Portrait Prize – Semi-finalist 2013 Doug Moran National Portrait Prize – Semi-finalist 1985 Clifton Pugh Drawing Prize, Victorian College of the Arts, Melbourne, Victoria 1985 The Trustees of the National Gallery of Victoria Award, Victorian College of the Arts, Melbourne, Victoria
