Annual Group Show

Please join us for our Annual Group Show being held this year in Limassol at our premisses (paintings) and in the Municipal Park in Lefkara (bio degradable installations).
Artists participating in Limassol on the 29th May include:
Lucy Ananieva is a multidisciplinary artist from Moscow, currently based in Cyprus. Her practice spans illustration, collage, and ceramics, with a current focus on painterly collage and self-made artist books. Trained in collage by Alexandra Vorozhko, she brings an intuitive and tactile approach to composition, often merging hand-painted textures with found materials to explore themes of memory, transformation, and inner states. She has participated in artist residencies at Memeraki (Limassol, 2020) and GetArtFit (2025). Her work reflects a personal visual language rooted in sensitivity to form, texture, and emotional nuance.
“Unfolding”
This ongoing body of work is rooted in intuitive exploration and deep attention to the creative process itself. Created over the past two years, the collages and artist books presented here emerge from a practice of spontaneous composition — often without a clear idea or plan at the start. Trusting the process to guide the outcome, I allow for accident, experimentation, and internal response to lead the way.
The materials I use — including text fragments, magazine cuttings, personal photographs, found papers, hand-drawn elements, and stamps — are chosen for their emotional resonance and tactile presence. Some are created in handmade books, others in found notebooks selected by feel, memory, or atmosphere. The work unfolds much like a diary: personal, reflective, layered.
What connects these pieces is a desire to step away from control and perfectionism and instead enter a space where creative flow becomes a kind of inner movement — meditative, freeing, and sometimes surprising. This process-centered approach is new for me, in contrast to earlier works that followed clearer conceptual plans.
These collages are an attempt to listen — to inner states, unconscious rhythms, shifting emotions, memory, and imagination. They are a quiet yet powerful act of self-reflection and self-trust. For me, the process is both a practice and a form of art therapy — a way to inhabit a freer, more alive, and more honest part of myself.
Sotos Ioannides was born in Limassol, Cyprus, in 1991. After completing his five-year studies in painting at the Athens School of Fine Arts (2012–2017), he returned to Cyprus, where he established his personal studio, Yiakazoui.
Sotos has exhibited his works in a variety of mediums, including paintings, drawings, video art, and performance. He has also completed murals in public schools and has taught a select group of students at his studio. To date, he has presented three solo exhibitions and has participated in numerous group exhibitions both in Cyprus and Greece. Sotos was a resident artist at Memeraki (September – December 2021). He currently lives and works in Limassol, Cyprus.
“Painting”
Painting, for me, is survival — a raw confrontation with the forces moving under the surface. Every mark, every layer of color is a collision between instinct and memory, between the weight of experience and the chaos of the unknown. Influenced by the emotional urgency of Munch, the structural force of Cézanne, the fierce materiality of Dubuffet and Auerbach, and the wild immediacy of Basquiat and Appel, I approach the canvas with an urgency that refuses polish.
My work is born from a need to tap into what lies beneath conscious thought. Psychology, especially the theories of Carl Jung, informs the way I move through the process — allowing symbols, figures, and landscapes to emerge from somewhere deeper than reason. I don’t begin with a plan. I begin with an impulse: a color, a stroke, a scratch. The paintings unfold in a language I don’t fully control — and that’s the point. They are not illustrations of ideas. They are living surfaces where something buried can find its way up.
I work primarily with acrylic paint, but the medium is never fixed. Spray paint, oil pastels, markers, oil paint — whatever feels right in the moment gets pulled into the battle. I believe in the physical act of making: layering, scraping, staining, obliterating, rebuilding. Every surface carries its own wounds and histories. Texture isn’t decoration — it’s evidence of struggle, of change, of something having happened.
Color is weaponized emotion. It’s not about describing the world outside but pushing at the seams of the world inside. Sometimes colors clash brutally; sometimes they barely hold together. I embrace contradiction, believing that true feeling is almost always messy, unstable, impossible to pin down neatly.
Figures sometimes appear — half-formed, distorted, angelic, monstrous. They come and go, like memories or dreams that refuse clear shape. I’m not interested in clear narratives or easy resolutions. I want the work to feel like stepping into the middle of something unfolding — something familiar and foreign at once.
This body of work, made over the past two years, is a record of instability, searching, and transformation. It’s a reminder that identity itself is not a fixed thing, but a shifting set of forces, impulses, fears, and hopes colliding and mutating over time.
In a world addicted to surface and speed, I fight to hold onto something slower, rougher, more human. Painting, for me, is an act of resistance — against forgetting, against disconnection, against smoothing everything down to something consumable. I’m reaching for the raw pulse underneath it all.
Each piece is an invitation, not a statement. A place to get lost. A place to remember that we’re all carrying more inside us than we know.