Liquid Mountains, the story of the first collection
Liquid Mountains started with a feeling you can only have in a Cypriot summer. The sun has no mercy here. The heat presses down on stone, the land dries to the bone, and one evening on my balcony above Paphos I caught myself thinking that even the mountains could melt. That thought never left. It became a sketch, the sketch became a technique, and the technique became this collection.
The heat as a brief
Cyprus in July is bare rock, sunburnt ground and small stubborn patches of green that refuse to give up. Above it all, twice a day, the sky performs. The pink and orange of sunrise, the deep red of sunset, and the blue of a sea that never leaves your view. Those hours are the brief for every piece. Into the bareness I fold the colours of spring and the energy of light, louder than nature dares. Poppy colour against sunburnt ground. Form and colour are the language.
How to read a Liquid Mountain
The collection speaks a small, recurring vocabulary. Once you know it, you can read every piece.
- Drips
- Falling columns of colour, the signature of the whole collection. The mountain giving up its shape.
- Pools
- Spreading fields where the colour comes to rest, the calm after the fall.
- Stones
- Massive blocks that hold the composition, the memory of the rock before the heat.
- Burns
- Hot red peaks where the heat wins.
- Springs
- Rising fresh hues, the small patches of green that survive everything.
Collectors do not buy a rug from us. They buy a Stone with a Burn and a Spring. The vocabulary is also how the works get their names. Aphrodite Sunset is the warmest end of the palette, crimson and saffron pouring into terracotta. Coastal Dream answers it from the cool side of the day, magenta and ultraviolet on polished concrete.
Made where the colours come from
Every piece is made using drip tufting, the technique I developed, and as often as the wind allows, it is made outside. I carry the frame to the coast and tuft in the sunset the piece is answering. The process is documented in the open, from the first dated sketch to the last cut, which is also how the collection proves its origin. Originals and studies are hand-tufted by me in the Paphos studio, numbered and signed. Editions are produced with partner workshops in Pakistan and finished and signed in Paphos.
Where it goes next
In summer the works leave the studio and go back to the landscape that gave them their colour. Limestone cliffs, olive groves, the Mediterranean horizon. We call that series Summer 26, and it is the next chapter. The mountains melted. Now they travel.