Mirka Drapaniotou

Mirka Drapaniotou: From the World of Fashion to the Art of Ceramics.
Exploring the transformative power of clay, revealing a new story each time.

Mirka Drapaniotou began her career in the fashion world, but a deeper need for a meaningful connection with matter and creation led her to ceramics. Today, as a ceramicist, she creates works that convey emotions to the viewer. Working from her personal studio in Athens, Mirka continues to explore the transformative power of clay, each time revealing a new story – personal, ritualistic, and deeply human.

— From fashion to ceramic art – how did that transition happen? What led you to work with clay?
After years in the fast-paced fashion industry, I felt the need to take a break. With more time on my hands, I started exploring various materials while playing with my children. One of those materials was clay, and I was instantly fascinated by it. It responded to my need for a genuine, tactile connection with matter and for hands-on creation.

The transition was gradual but deeply meaningful, as working with clay demands a union of body and spirit. Engaging with this earthly element helped me move away from the absolute control required in the fashion industry and toward simplicity, randomness, and deeper essence.

— You studied fashion and costume design and worked in the fashion industry for almost a decade. How does that background influence your aesthetic in ceramics?
Fashion trained me in form, composition, and a sense of rhythm – it taught me to seek harmony and the dynamics of movement. That background has helped me in ceramics, especially in how I approach structure and detail in a work or installation. My forms could be seen as dancers’ costumes, like in the series Flowers Dancers, or as perforated armor, like in Cataphracts. In this way, I find a balance between rigidity and fluidity, precision and chance. I feel that my second career is in constant dialogue with my initial studies in fashion design.

— Your biography shows a continuous and multifaceted engagement with art – from freehand drawing to visual arts and design. What does ongoing artistic learning mean to you?
For me, learning never ends. I believe that in all forms of art – and especially in ceramics – no one ever truly “masters” it. I believe in constant searching and ongoing curiosity. Each new project feels like a different form of expression, and every failure becomes an opportunity for new creation.

— What led you to create your own studio? How easy was it to start your own business in ceramics, and who helped you bring it to life?
I had always imagined having my own space – a place for communication and dialogue with the public. My family was the first to support my decision. It wasn’t easy. Around that time, I heard about The People’s Trust and the important work they do in supporting new entrepreneurs. I’m grateful they believed in my vision and supported me tangibly. The trust and solidarity of these people is a source of strength and deep gratitude for me.

— How has your relationship with the public evolved? Is there a particular story you’d like to share from someone who acquired one of your works?
My relationship with the public is one of the most beautiful aspects of my work. I’m moved when my pieces convey emotion to viewers and when they understand that a ceramic work is not just an object, but carries memories, energy, and connects the creator’s story with the viewer. Every time someone chooses one of my works, I feel a cycle of communication is completed – a story is shared. These works become meeting points, forming bridges between strangers. These are the moments of genuine communication and connection that dispel the sense of loneliness.

— Is there a recurring theme or formal approach in your work? What inspires you?
I work with transformation. I build forms while seeking the moment when shape begins to change. Then I return to the piece and pierce the material – a meditative and revelatory act. My creations often take the form of articulated compositions, with individual elements nesting inside each other and interacting in dynamic balance.

They often resemble metallic casings that protect something fragile within. This interplay between solidity and inner sensitivity moves me deeply. I’m also inspired by ancient ritualistic forms and textures that endure through time. Ultimately, I seek balance between the material and the immaterial, the present and the timeless. Each work is unique and transforms alongside my evolving experiences.

— What is your favorite stage in creating a ceramic piece, and why?
For every ceramicist, the moment of opening the kiln is unique. The elements of nature – especially fire – will ultimately decide the piece’s outcome, and that’s the magic of this art. However, another moment I cherish is when the shapeless mass of clay begins to take form. At that point, I feel a sense of freedom and playfulness take over.

— What advice would you give someone considering a shift to artistic creation, especially if they come from a different professional background?
I would advise them to allow themselves to fail and to experiment. For me, ceramic art helped change the way I think and communicate. Since you can’t fully control the material, everything unfolds in its own rhythm and time. You learn to cultivate patience, to make room for the unexpected, and to become comfortable with not knowing the outcome. And that, I believe, is the greatest freedom.

— What are your future plans – artistic and entrepreneurial? Do you plan to further develop your practice?
First and foremost, I want to deepen my themes. I’d like to experiment with other techniques and connect more closely with other artists through open workshops. I also hope to broaden the dialogue with international audiences through exhibitions and collaborations. Very soon, my new studio will open, which will also be accessible to the public.

— What is your ideal environment for your ceramics to “live” in? As exhibition pieces or functional objects?The truth is, I dream of my works living in private collections or symbolic spaces as exhibits. At the same time, I’m fascinated by the dual nature of objects. Like ancient vessels that served a practical purpose yet carried sacredness, ritual, and memory. One way or another, wherever they “live,” I’d like them to carry and share a story.

Mirka Drapaniotou has been supported by The People’s Trust of the Athanasios C. Laskaridis Charitable Foundation, a privately funded non-profit organization that supports newly established and existing small businesses across all sectors. It offers grants of up to €15,000 and free business development services to its beneficiaries. The organization prioritizes the creation of new jobs through sustainable businesses that lack access to other sources of funding.

Read the full article here.

LIFO
ARTS & CULTURE GUIDE
Chasing Chimeras: A Study of “Hybrid” Ceramics
Six prominent Greek ceramicists will come together to explore hybridity in ceramic art.
The LiFO team
28.04.25

From May 24 to June 1, in Ermoupoli, Syros, six prominent Greek ceramicists will come together to explore hybridity in ceramic art. The approach will be twofold: inspired both by mythological hybrids (Chimeras, Sirens, Griffins, Pegasi, etc.) and by artistic collaboration, as the artists will work in pairs, merging their distinct artistic identities.

As a result, three original works will be created by the six artists, materializing the unrealizable essence of mythological hybrids.

Participating artists:
Mirka Drapaniotou, Yiannis Zois, Maggy Ioannou, Melina Xenaki, Fani Skoulikidi, Stavros Perakis

There will be daily open studio hours for the public to meet the artists and observe them working in the Chimaira Politisimos workshop.

Additionally, on May 30 & 31, Mirka Drapaniotou and Yiannis Zois will teach a two-day masterclass on transforming a simple form (wheel-thrown or hand-built) using the darting technique, as well as the theory and practice of preparing, coloring, and processing terra sigillata at high temperatures.

The original works created during the ceramics symposium will be exhibited at the award-winning boutique hotel Aristide, with their presentation taking place on May 31.

Organization & Artistic Direction: Chimaira Politisimos / Manos Mastorakis
Visual Identity: Runaway
Materials Support: Ramphos Ceramics Materials
Hospitality Sponsors: Sarita & Grigoris Markouizos
Transport Sponsor: Blue Star Ferries
Artwork Hosting: Yasmin & Oana Aristide, Aristide Hotel

Read full feature here.

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ZEUS+ΔIONE new homeware range is inspired by a kind conversation between the past and the present, the adorned and the doric. The softly silhouetted objects by Marios Schwab are defined by ivory and metallic shades, with hints of cobalt blue, taking color cues from the Greek sea, the play of light and the archetypical whitewashed Cycladic volumes. The collection features earthenware-like sculptures, made of bronze alloys, porcelain, and clay with a coated interior of glossy ceramic glaze. Bridging the gap between craft, history and design, each item is defined by a border of Z+Δ signature hand-engraved ‘Spathoto’ motif. Home textiles made of natural fabrics such as cotton, silk and linen, are emblazoned with artisanal weaving patterns.

As described by the creative team behind the collection, “Home is part of our creative universe. And whether it’s a memory or a feeling, our place can evoke ardent emotions as we coexist within it. But above all, it must reflect hospitality, warmth and kindness. A concept on which ZEUS+ΔIONE offers its own perspective with its homeware collection named after the ancient Greek word “φiλοξενίᾱ”.

Read the feature here.