Ranio Sarri works with exceptional sensitivity in the field of painting, creating works that originate from her personal "visual diary"; as she herself says, she captures "her own world through lines."
Her expressive language is based on forms that often transcend the realistic framework—it is not simply a matter of representation, but of transferring emotions and inner landscapes onto the surface of the canvas.
In works such as those in her exhibition entitled "Emotional Pending," the concept of waiting, uncertainty, and inner tension is emphasized.
Her colors and forms are not random—they seem to function as "bridges" to her personal experiences and the mental landscapes she prefers to explore.
Studying furniture design, freehand drawing, color, Greek culture, and applied arts, Ranio Sarri incorporates elements of friction between the handmade and the visual arts into her work.
Αυτό δημιουργεί μία ενδιαφέρουσα συνάντηση: το έργο της μπορεί να «διαβαστεί» ως γραφιστική απεικόνιση, αλλά ταυτόχρονα μεταμορφώνεται σε προσωπικό αφήγημα ζωγραφικής, το οποίο απευθύνεται στον θεατή χωρίς να επιβάλλεται — αφήνει χώρο για ερμηνεία, για συναισθηματική συμμετοχή.
In conclusion, Ranios Sarri's work is a dynamic proposition, combining technical training and applied art with inner exploration and personal style. The "special images," as she calls them, are not merely visual impressions; they are expressions of her soul.
1) What does art mean to you? (Give us an example.)
For me, art is a way of seeing and feeling the world. It is what makes everyday life more real, what gives meaning to simple things. It's not just colors or shapes, it's an inner need to express myself and communicate without words; I want it in my life in all its forms, from the way we see things to the way we ultimately experience them.
2) Which stage of the creative process do you find most demanding and why?
The most challenging part for me is deciding when a project is finished. That's where I get confused—whether I should continue, leave it as it is, or ultimately "wear it out." I often leave them unfinished because I feel that they have already said what they wanted to say. I don't spend many hours on a project because usually the more I work on it, the more I lose the immediacy that I love in painting. Translated with DeepL.com (free version)
3) Is there a project of yours that you consider decisive for your career? If so, why?
I don't know if there is any project that I would call "defining." Every job carries something of me and teaches me something new. Perhaps the most important thing for me is the moment I realized that I don't need to "search" for the big project; that the process itself is more valuable. So, I guess what defined me is not a specific project, but my relationship with painting in general.
Some projects:
