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Nicole Economides Interview

Nicole Economides

Nicole Economides on art as a multidimensional lens through which to view the world, making new work in preparation for a solo presentation & exploring themes of family intimacy and everyday life.

How did you get into making art?

It wasn’t until the end of my second year in art school that everything began to align. That was when I realized art wasn’t just a hobby—it was a profound expression of my inner self, a part of me I hadn’t fully known. The act of drawing didn’t simply alter the way I create; it transformed how I think. It offered me a multidimensional lens through which to view the world, empowering me to approach ideas and challenges with a deeper, more expansive perspective. This shift continues to shape not only my work but my entire way of seeing.

What are you currently working on?

I’m currently working on a new body of large-scale paintings that will be on view at the Independent Art Fair in New York in May 2025. I will be presenting my work as part of a continuation of my recent solo exhibition at Callirrhoë Gallery in Athens. These pieces draw inspiration from old family photographs sent from the U.S. to Greece during the 1960s and 1970s. Through this work, I explore themes of family intimacy and everyday life, where the past feels both familiar and elusive, intertwining personal memory with a broader sense of shared history. As these moments recede into the distance, they shift and transform, becoming subjective and somewhat obscured.

I explore themes of family intimacy and everyday life, where the past feels both familiar and elusive, intertwining personal memory with a broader sense of shared history.

Nicole Economides

What inspired you to get started on this body of work?

This project continues my earlier series Mother Tongue, which was sparked by the discovery of family photographs during my move from New York to Athens. I became particularly drawn to the handwritten notes on the back—messages filled with longing and displacement. Written in Greek, these notes were incomprehensible to anyone outside the language, reflecting my family’s experience when they first arrived in New York. Their words, much like their identities, felt foreign in this new place. In Mother Tongue, I explored these hidden narratives by concealing the figures and focusing on the writing found on the back of the photos. Now, in this new body of work, I’m bringing those once-obscured scenes into view, revealing the intimate moments that were previously kept out of sight.

Do you work on distinct projects or do you take a broader approach to your practice?

I take a broad approach to my practice, viewing it as a continuous exploration of memory, migration, and identity—how these themes intersect on both personal and cultural levels. Through the use of photographs and semiotic elements, I delve into nostalgia, belonging, and the fluidity of identity, especially for those, like myself, who navigate life between different places and cultures. My work examines how economic migration shapes both individual and collective identities, and how language and culture are central to defining our sense of belonging.

What’s a typical day like in your studio?

I like to prepare my space before starting a new project. Some days are entirely dedicated to cleaning and organizing—it clears my mind and helps me gear up for the creative process. I typically begin the day with coffee and the radio, which keeps me company as I sketch, draw, or sift through photographs.

Who are your favorite artists?

I’m deeply inspired by Leda Papaconstantinou and Sigmar Polke.

Where do you go to discover new artists?

I enjoy attending openings and open studios, where I can experience artwork up close and connect with artists in person. Additionally, I conduct research online through art magazines and social media.

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