Aggeliki Kourmoulaki

Painter | Greece

Angeliki Kourmoulaki is a painter. She was born and lives in Thessaloniki. She holds a degree from the Pedagogical Department of Kindergarten Teachers in Rhodes of the University of the Aegean, and she has been involved in art for over 30 years. She pursued extensive private studies in visual arts, with the most significant being her apprenticeship in the workshop of the painter-architect Konstantinos Palian. Additionally, she apprenticed in the theatrical workshop of the D.E.TH.E. of Rhodes and systematically attended self-awareness workshops through art. She has been active in the theater, designing sets for numerous theatrical performances and events. Furthermore, she engaged in the conservation of wall artworks and decoration in historic buildings in Thessaloniki. She has developed a rich teaching portfolio in the broad spectrum of visual arts and served as the head of visual arts studies at the Cultural Center of the Municipality of Thermi. In recent years, she has been involved in illustration and writing poetic texts. She has presented her work in 12 solo and 28 group exhibitions of painting and constructions. She collaborates with the collective of visual artists ARC – Art Revisited Collective since May 2018 and is a member of the Chamber of Fine Arts of Greece.


Painting and art in general are for me a path of exploration and understanding of reality as it is recorded within my own existence. In this way, I find myself studying myself in order to comprehend the world. More specifically, art becomes a means of introspection, requiring immersion into the deeper layers of being, as well as a medium for capturing the inner landscapes that unfold there. Over time, it transforms into a journal not of events, but of spiritual journeys, which ultimately outline a path towards self-awareness.

In this journey, reality unfolds in multiple layers that start from the superficial aspects of description and narration, and reach the depths of symbolism and the polysemy of forms within an inseparable whole, where the part finds its connection to the entirety. Painting provides me with the opportunity to study both the material with its forms and the ideas they can incorporate. Thus, I begin with the specific (subject and design) and move towards the abstract (using mixed techniques and materials), aiming to convey the numerous dimensions that compose and permeate the image.

My ultimate goal is art expression, as a capable means of expressing spirituality, which in turn constitutes my fundamental existential quest.


Τype: Painting, Digital Art
Medium: Mixed techniques on canvas, Digital Media and printed digital art
Style: Representational Expressionism, with strong textures, Symbolism
Themes: Anthropocentric
Workshop: Thessaloniki, Greece
Associations: Member of the Chamber of Fine Arts of Greece
Price Range: €500-3000
International Scale:




“Onirotropia 2 / Deep Line, Curved”, Retrospective exhibition of 20 years, organized by ARC – Art Revisited Collective, curated by Paris Kapralos, text by Lia Zografou, 1st Arts and Crafts Festival – Capsis, Thessaloniki, 2019.

“Merlina, an smuggy mouse”, illustration layouts from the book’s pages exhibition, Municipal Art Gallery – Library of Thermi, Thermi, 2016.

“Onirotropia”, Municipal Art Gallery – Library of Thermi, Thermi, 2016.

“An Inner Journey”, New Rysio Conference Center, Neo Rysio Thessaloniki, 2000.

“At the Edge of the Dream”, Kannabishop, Rhodes, 2000.


“Contemporary Visual Artists”, contemporary art auction exhibition, Myrό Gallery, Concept & curation: Paris Kapralos, Auction: Myrό Antiques House, Thessaloniki 2022.

“Within Oneself”, ARC – Art Revisited Collective website / Digital Exhibitions Department, Concept & curation: Paris Kapralos, Digital exhibition 2021.

“Form as a Trace of Collective Memory”, Chili Art Gallery, Concept & curation: Paris Kapralos, Athens 2021.

“New Symbols”, an exhibition exploring symbolism in contemporary art, organized by ARC – Art Revisited Collective, Chili Art Gallery, curated by Paris Kapralos & Iason Kairofylas, Athens 2020.

“Art in Babel”, curated by Kalanthi Vogdopoulou, organized by ARC – Art Revisited Collective, Chalkos Gallery, Thessaloniki, February 2019.

“Man, Symbol & Myth”, exhibition of ARC – Art Revisited Collective members and friends, curated by Paris Kapralos, My Art Box, Athens, February 2019.

“Meet the Artist”, Myro Gallery, Thessaloniki, 2013.

“Myths of Culture”, Theoxenia Hotel, Ouranoupoli, Chalkidiki, 2001.

“Visual Dialogues for Florina”, Lava Art Gallery, Thessaloniki, 1999.

“Painting and Engraving Exhibition”, Byzantine Tower, N. Fokea, Chalkidiki, 1999.

“Painting and Engraving Exhibition”, Lava Art Gallery, Thessaloniki, 1999.

“Forgotten Homelands”, Historical Archive of Refugee Culture, Thessaloniki, 1997.

Art Gallery “Entos ton technon”, Thessaloniki, 1996.

Art Gallery “Ochra”, Thessaloniki, 1995.

Bridges of Culture, Athytos Chalkidiki, 1995.

Hill Club, Thessaloniki, 1993.

PROJECTSTransforming the Invisible: From Archaeological Photomicrography to Digital Painting“. Exhibition-collaboration with archaeologist-micromorphologist Stella Kyrillidou. Archaeological Museum of Thessaloniki. Thessaloniki, July-September 2022. “Oneirotropia 2” interactive performance – book presentation – painting exhibition, Polychoro Eneken, Thessaloniki, January 2019. “Ou-Topos / Panton Chrematon Metron Anthropos“, visual art project exhibition by the collective ARC, conception & curation by Paris Kapralos, 3rd Art Thessaloniki International Fair, Thessaloniki, Greece, November 2018. “Oneirotropia” interactive performance – book presentation – painting exhibition, studio “Les yper yper”, Thessaloniki, April 2017. . BOOKSOneirotropia: A Little Story about a Mermaid, a Journey Inward“, i-write Publications, 2015. “Grammi Vathia Kampyli“, Saixpirikon Publications, Thessaloniki 2018. . ILLUSTRATIONSMerlina, a Ghostly Mouse“, i-write Publications.


Transforming the Invisible: From Archaeological Photomicrography to Digital Painting

The photographic exhibition “Transforming the Invisible: From Archaeological Photomicrography to Digital Painting” is an artistic attempt to transition from the “visible,” tangible world to the “invisible” microcosm.

Photographs taken under a high-resolution microscope depicting samples of deposits from prehistoric settlements in Western (Agiou Kastoriou, Kleitos Kozanis, Arhontiko Giannitsa) and Central Macedonia (Touba Thessalonikis) serve as stimuli for art inspiration. Fundamental lines, abstract and indefinite shapes, only visible under the microscope, compose the material reality of prehistoric settlements and are the subject of specific micromorphological analysis aimed at reconstructing various activities within their spaces.

Images that add magic to the already captivating work of the archaeologist, and which, when seen through the eyes of an artist, transform. Through the digital transformation of these photomicrographs, an entire microcosm comes to life, emerging as a narrative through time. Figures of humans, animals, and landscapes are revealed like postcard views hidden within the microscopic structure of the findings.

Micro-scale meets macro-scale, the abstract takes on form, and nature produces shapes. The exhibition presents 46 digital painting panels alongside their corresponding photomicrographs. In this dialogue between science and art, the viewer is invited to mentally contribute their own interpretation, to be carried beyond the artist’s perspective.

The exhibition is the result of collaboration between the visual artist Angeliki Kourmoulaki and archaeologist Dr. Stella Kyriaklidou.

Exhibition duration: July 21 – September 30, 2022.

CRITICAL APPROACH | Onirotropia 2 / Deep Line, Curved

Aggeliki Kourmoulaki, with “Onirotropia 2 / Deep Line, Curved”, invites us into the journey of her personal development as a woman and an artist. She views her art as a product of inspiration from alternate dimensions, an act of ecstasy and creation that belongs to everyone. With her, we witness our own evolution as unique and universal beings, regardless of our chromosomal makeup. Femininity is encountered as a transcendent concept, simultaneously disarmingly earthly, electrifying the feminine towards creativity, and guiding the masculine towards receptivity and empathy.

We exist in a world that increasingly distances itself from the fluidity and circularity of the soul. In a fragmented world that excludes specialization, order, and classification, we wonder why we can’t find tranquility. We seek square solutions on a round planet. It’s expected that we fail miserably, and our paths become increasingly hazardous. The artist, a tool of higher wisdom, stands naked before us and dares to offer something that few dare: the idol of our own reflection in the mirror.

After awakening us with her images, she takes us on a journey into the depths of dreams, where we can encounter truths not easily found elsewhere. She grants us access to her inner world and dares to share with us her psychological birth, her transformation into a conscious woman, a finite yet eternal being with flesh and bones.

In “Onirotropia 2”, just like its predecessor, “Onirotropia 1”, Aggeliki fearlessly portrays the journey of a woman steering her life’s course, capturing it with the devotion of an ascetic and the determination of an escapee. Yet, she doesn’t stop there. She earnestly and lovingly calls us to engage in a sincere dialogue about the essence of all our lives and to embrace her work with all our senses. She generously meets us with images and words from the language of curves, helping us understand their true meaning, as it takes immense generosity to know how to give.

But beyond the fact that we become participants in a personal confession that concerns us all, as every substantial work of art achieves, Aggeliki takes a great leap forward. She invites and challenges us to respond, to stand equally courageously before her, inviting us to remember the language of circularity, encounter, dialogue, and exchange.

It is an honor for me to introduce her work, and an even greater honor that I participate alongside my theater group, Playback RU, in the humanization of two-dimensional images and their transformation into spectacle, sound, emotion, and life. Just like “Onirotropia 1”, this edition provides source material for interactive playback theatre performances, where the audience actively translates the artist’s ideas into action and experience. Aggeliki wants her art to be shared beyond the confines of our individual minds and inspires us to gaze beyond the clouds, beyond this galaxy.

The great abstract expressionist painter Mark Rothko once said that his art would become understandable wherever there is “need and spirit”. The time is now. The need is vast. Our spirits thirst and demand recognition. Aggeliki hears and responds. Guided by dignity, love, passion, and faith, the artist touches wisdom and, along with it, the freedom of a woman learning why she lives, how to live, and for whom she lives. For you and for me.

It is worthy.
Let us see.

Lia Zografou
Drama Therapist, Actress –
‘Playback RU’ Improvisational Theatre Group

Documentation text for the retrospective exhibition “Onirotropia 2 / Deep Line, Curved”, which took place within the framework of the Arts and Crafts Festival – Capsis by Antiques House, at the “Sithonia” Halls on the 2nd floor of the Capsis Hotel Conference Center (16 Monastiriou, Thessaloniki) on December 21-23, 2018.

"CRITICAL APPROACH | Transforming the Unseen: From Archaeological Photomicrography to Digital Painting"

The photographic exhibition ‘Transforming the Unseen: From Archaeological Photomicrography to Digital Painting’ is an artistic endeavor that transitions from the ‘visible’ tangible world to the ‘invisible’ and ambiguous microcosm. Photographs captured under high-resolution microscopy, depicting samples from prehistoric settlements in Western and Central Macedonia (Aigai of Kastoria, Kleitos of Kozani, Archontiko of Giannitsa, Toumba of Thessaloniki), serve as stimuli for artistic inspiration. Indistinct shapes, revealed through multiple magnifications, compose the material reality of these specific settlements. They undergo specialized micromorphological analysis to reconstruct various activities that transpired during prehistoric times.

Images that add enchantment to the already captivating work of the archaeologist, when encountered by the gaze of an artist, undergo transformation. Through their digital metamorphosis, an entire microcosm comes to life as figures of humans, animals, and landscapes emerge like microscopic postcards preserved within the microstructure of the findings. Simultaneously, an unexpected narrative emerges, tracing the course of life through time. Ultimately, the micro-scale meets the macro-scale, the past connects with the present, and reason engages in dialogue with imagination. In this dialogue between art and science, the viewer is called to contribute their own interpretation beyond the perspective guided by the artist’s vision.

Documentation text for the project ‘Transforming the Unseen: From Archaeological Photomicrography to Digital Painting’
by Aggeliki Kourmoulaki and Dr. Stella Kyriaklidou, presented at the Archaeological Museum of Thessaloniki
during the summer and autumn of 2022.”


[All articles, interviews, etc., featuring the artist in the media section, are located on the websites of the hosting media outlets and are in languages other than English]