Nikos Moschos was born in 1979 in Herakleion, Crete, studied at the ASFA and lives in Athens. His works depict human limbs, mechanical components, architectural elements, animal and plant parts, ancient statues, and numerous unspecified elements combined in confusing as well as terrifying tableaux. Pop aesthetic, encounters realistic painting and combines psychedelic elements in images reminiscent of advertising motifs. In ‘’You are already in the party’’, Moschos presents an interior rich in mental associations. Musical notes meet an extended arm that holds a coffee cup; a mouth with dazzlingly white teeth brings to mind toothpaste commercials, while two angry animal eyes are staring at the viewer.

Inevitable Nature

Nikos Moschos’ landscapes do not depict a specific time or place like impressionism. They form a collage of elements that create both familiar and unexpected perceptions of reality.

The new works of Nikos Moschos reflect the progress of the series presented in his two previous shows in 2012 and 2013, which had the title: 'The Marriage of Flesh and Machine'.
These works portray compositions which are built extensively by the crushing of disproportionate human body parts, machines, trees or new buildings.
These elements are sometimes recognizable and sometimes undefined, they become members of a body where cause and effect coexist creating emotionally tensed situations.

"The Marriage of Flesh and Machine in the paintings of Nikos Moschos"


"He who makes a beast of himself gets rid of the pain of being a man."
Dr Johnson(on the frontispiece of Hunter S. Thompson΄s, "Fear and Loathing in Las Vegas") 

Nikos Moschos makes a convincing argument on the issue of what does one paint today. In an age where the medium has only one single choice: to reinvent itself ab initio (or at least beyond a certain point) in order to stand convincingly before the fairground of media, pop music and movies. In other words, to stand on its own two feet, to exist in an independent state, away from the mothball environment of museums and the (unbearable) weight of the past and of history (which weigh down far less on the media, pop music and films). Of course, nowadays, painting should be finding itself in a privileged position that contrasts with the commercial breakdown of other visual media-video, installations or photography - as well as the broad-ranging crisis they are facing (conceptual art is, yet again in its history, in danger of becoming an object of ridicule and caricature, due to its eccentricities). 

"Peinture en effervescence"


« … la ville ressemblait énormément à ce que j’avais imaginé afin qu’elle soit vraie.
Pourtant, je me sentais à la fois satisfait et, comme je m’y attendais, désorienté, 
aussi joyeux que seul, sans pouvoir dormir, 
comme Alice au pays des merveilles ».
John Fowles, Le mage
« Le peintre “apporte son corps”... ».
Paul Valéry

Il y a trois ans environ, lors de la première exposition personnelle de Nikos Moschos, je suis soudainement entrée dans le tréfonds de son monde densément construit et prêt à s’effondrer. Dans les quartiers en cours de construction sur les pentes cachées de Néos Kosmos à Athènes, dans l’ombre des maisons néoclassiques en suspens et des gigantesques affiches palimpsestes, dans les carcasses vieillissantes des immeubles populaires, auprès des fleuves multicolores que constituent les constructions se dressant illégalement, j’ai rencontré sa peinture impétueuse et audacieuse.
Dans son premier ensemble pictural, le jeune artiste a fait sienne la notion de monde habité et chargé de mémoire, il a traduit, avec une habileté remarquable, l’environnement construit, étouffant et ténébreux de la ville, il a transformé avec une maturité ingénieuse et d’inépuisables inventions techniques la succession de motifs densément construits dans des tableaux déstructurés autonomes, avec une mémoire incertaine et en façonnant des mythes intrinsèques, en détruisant l’image cohérente du tissu urbain, en inversant la narration des actions et des héros de ses tableaux, en supprimant les issues potentielles et apaisantes pour le regard, en décrivant la violence suicidaire du temps présent, en reflétant la matière première crue de son univers intime.

"A Wonderful New World"


SOCRATES. –It is therefore logical to consider that the creations of man are made, either in relation to his body – and this is the principle called benefit -, or in relation to his soul - and this we seek with the name beauty. On the other hand, however, one who constructs or creates, having to deal with the rest of the world and with the creative movements which forever seek to destroy or to overturn what he makes, is forced to recognise a third principle, that attempts to transmit his works, and expresses the resistance he seeks them to their destined fate, which is destruction. He thus seeks stability and duration.
PHAIDROS. –These truly are the great earmarks of the perfect work.
Paul Valery, Eupalinos: or The Architect 1

A Wonderful New World
The décor unbalanced
Drawn by a drunkard master
With a ridiculous nose
Standing on a single leg
It was there, as if built
With shimmering chalk
A city upright
As a crane
G. Skarimbas

Directly opposite the butchered structure by Takis Zenetos – the former FIX factory and now the promising building site for the National Museum of Contemporary Art – is the beginning of Irakleous Street. It heads steeply uphill and penetrates surprisingly into the interior of Neos Kosmos. This is the road where Nikos Moschos lives and works. Surrounded by a neighbourhood on the cusp of being regenerated,

At Nikos Moschos portrait of Antonis Benakis, Benakis as if by magic shows up in real flesh in the artist's studio. Behind the figure