Katerina Mpousiou approaches artistic practice as a continuous act of conscious choice rather than the product of fate. Through persistence, commitment, and self-reflection, her work unfolds as both discipline and dialogue with the world around her. Rooted in painting yet open to broader forms of exploration, her perspective emphasizes the balance between imagination and awareness, passion and perseverance. What emerges is an understanding of art not as destiny, but as a deliberate path shaped by consistent engagement, resilience, and curiosity.

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Do you believe an artist's passion is something destined or a conscious choice? 

I am not really sure if I believe in destiny or fate. I think I mostly tend to believe that everything around us is the result of many different choices each of us makes, which eventually lead us to our current lives. The reasons why we make a specific choice in each case are a mixture of the feelings we had at that very moment, the particular circumstances around us, and, more broadly, the environment we were in.  However, the constant and repeated choice of something is certainly a conscious action. For example, it might be a matter of luck when we end up somewhere we never thought we would, or meet people who change our lives, or try activities we never imagined. But when we continue to carry those habits, environments, or experiences within us, then it is not destiny or fate -it is clearly our inner self making that choice, because it recognizes and acknowledges something that we might not yet be able to perceive. 

 In my opinion, there are always reasons why we keep making a specific choice. It might come from the way we grew up, or even from something very small that our mind kept stored as a memory or piece of information. But at the end of the day it doesn’t really matter where it comes from. What matters is that we make the choice and that we are fully aware of it. In this case, we cannot really talk about destiny.Now, if we are to talk about passion, I think that passionate people are usually those with brilliant ideas, who are not afraid to take risks, and who remain open to developing new ideas and multiple solutions to a problem. That is the moment when talent enters, embracing and expanding someone’s creativity. However, the consistency of creating and evolving has much more to do with an artist’s will to work. 

 During my years in art school, I often saw very talented people give up simply because they were not willing to put in the effort. At the same time, I also saw people who perhaps did not begin with such obvious talent, but who developed a strong artistic character and went on to produce brilliant work. This made me realize that talent can be an entry point, but it is not what sustains an artist. What sustains an artist is persistence, commitment, and the conscious decision to keep going even when things get difficult. 

What I am trying to say is that while someone may enter the field of art by coincidence or by a moment of curiosity, remaining faithful and committed to art -continuing to believe that it can give something back and reward you for your research, work, and effort - is definitely a conscious choice, one that artists constantly have to make. 

How do you reignite creativity during those inevitable periods of self-doubt or stagnation?

Self-doubt and stagnation are indeed inevitable when it comes to creativity. Yet, I believe that after these periods something new often emerges, fresh inspiration or new ideas begin to flourish. It is difficult to always have faith in what you are doing and to care for your ideas in a way that allows them to constantly evolve. In moments like these, self-awareness becomes an important tool. It is essential to notice ourselves and recognize which elements help us to relax, feel free, and reconnect with our inner selves. We need to know what gives us inspiration and a genuine willingness to keep witnessing the world around us, absorbing information from it and then translating it into our work. 

For me, when I find myself in moments of self-doubt, when art feels meaningless, or when creating feels more like a struggle than a joy (which happens quite often), I consciously turn my attention to sources that nourish me. I look at the work of artists who truly inspire me, I watch films where the photography captivates me, and I spend time in nature, perhaps going for a hike, visiting a beloved place, or reading a book. Equally important is spending time with people I love and talking with them, sharing thoughts in a way that helps me release whatever is blocking me. Usually, during these times, I step back from creating and focus instead on filling myself with elements that inspire me and make me feel fulfilled and happy. My friends are very important to me, and spending time with them or discussing a theme that might interest my work can usually bring new ways to perceive a topic. It can always be amazing how someone else’s way of thinking can give different solutions to a problem. 

 Most of the time, this process not only eases the tension but also generates new ideas and perspectives about what I want to create or research. The most important outcome, though, is that it reminds me to feel grateful for the things I already know I love doing: spending time with friends and sharing conversations, being in nature, or witnessing the work of artists I admire.

Has there ever been a time when the creative process felt more like a burden than a joy? How did you navigate that? 

There have been several moments when I doubted the path of art and whether it was the right one for me. One of the most intense periods came last year, right after graduating from university. It was very difficult for me to find my purpose, so to speak, and the motivation to keep trying to be an artist, or at least to find a place in this field where I could create my own work. 

This struggle was mostly because, during my studies, I never worked as an artist to earn money, but only other jobs while I was doing my studies. Finishing my degree suddenly placed a huge weight on my shoulders -it became a burden to imagine how to move forward and self doubt was all over around me. Of course I knew that this field has difficulties when it comes to jobs and economical issues but it is quite different when you really have to confront this. It took many conversations with older and more experienced people, time spent alone, traveling, and doing research to realize that the process of self-doubt is something that may never completely disappear. It is part of being an artist, but also part of being human in general. Regarding the question of working as an artist for money, I came to accept that this is a condition that takes time for someone to figure out. The real question I had to ask myself was: did I truly want to abandon this field, or did I feel that there were still things left for me to discover within it? For me, experiences like this can actually make someone more grounded and certain about their choices. At the end of the day, I don’t think “right” and “wrong” are the correct words to describe our decisions. Each choice simply leads us down different paths and offers multiple ways to experience life. 

At the same time, the art world is undoubtedly a difficult field in terms of making a living. That is why no one should fall into the trap of comparing or measuring their success solely through income. Art, in my opinion, should first be created because it is someone’s inner need and conscious choice to say something through it, rather than just a way to survive financially. Of course it can be very difficult to keep producing when you are not economically established, but when the small moments of acknowledgement come, or when you create something that has truly made you feel content and free, you usually know that it is worth the while.

Do you believe the ‘mad artist’ stereotype still holds weight, or is creativity more grounded than we think? 

I think that the word mad can be perceived differently according to the people who are using it and the ones who hear it. Society usually tends to characterise artists as mad people with weird personalities and unusual habits. 

Undoubtedly, if we think of history and artists that really made the difference, in a radical and revolutionary way, created unremarkable works of art, we can maybe highlight people with special characters and a way of thinking that does not coexist with the norms and everyday life that society produces. For me, though, that does not make them ‘mad’. We could probably say that artists, and people in general that have something to say and indeed contribute to the art world (or in any other field), creating more space for new ideas, and evolution are people with free spirit, and passion to create and perceive the world in an authentic way, a way that their mind and thought guide them to follow. 

Creating art and working in a studio demands self-discipline, and many times you might spend hours and hours working with nothing making sense to you. However, this is part of the process. You also need to research, study other artists, be aware of the society you are living in, and have something to say that at least makes sense to you. For me, the word mad cannot really describe artists, as its use implies someone living only in their own world, with no sense of what is really happening on the actual planet, and maybe with no emotional intelligence or valid boundaries. 

What I am trying to say is that creativity also carries grounded thought, since you have to listen to your inner voice and create something that works as a work of art. Being able to recognize what concerns you and give it space, so that you can create works around it, requires self-awareness, as well as knowledge of what other artists created before you. In this sense, you need to have a good connection with your inner self and be able to listen to it. At the same time, an unconventional way of thinking, or thinking outside of the box, can make you stand out among others. But this is something that happens in every field, where people have an alternative way of living and thinking, and it is usually reflected in the way they handle their jobs as well. 

To sum up, I believe that the idea of the ‘mad artist’ does not truly capture the essence of creativity. Artistic practice requires both passion and discipline, imagination and awareness. Rather than madness, it is this balance -between freedom of spirit and grounded thought - that allows artists to create meaningful work.

How do you feel social media is shaping the way art is created,  consumed, and valued today?

Social media is everywhere in our lives today. For a large majority of people, spending time on their phones has become their “me” time -a moment to disconnect from their inner environment, put on headphones, and scroll through their screens. The digital space has become not only a form of entertainment but also a way of shaping how we perceive the world. 

 In the art world, social media plays a vital role as well. Many of us (including myself) maintain two Instagram accounts, one of them being an art profile, where we can upload our work, connect with other artists, get involved in open calls, and represent ourselves in the way we choose within the artistic community as with social media we now have incredible opportunities: access to international open calls, visibility in publications, invitations to participate in residencies or collaborations, and in general the chance to gain exposure or even exhibit our work, in some way, to audiences across the world -all from the comfort of our homes. This kind of accessibility is something that artists a few decades ago could never have imagined. Personally, I have found that Instagram has allowed me to connect with artists from completely different backgrounds and cultures, people I might never have met otherwise, and to feel part of a much larger conversation about what art can be today. 

 On the other hand, this vast exposure to all kinds of art -whether well-developed or quickly produced, deeply researched or superficially made -creates a mixture that can sometimes reduce the overall value of artistic work. It seems that anyone can present themselves as an artist or take part in this world. What is visually beautiful, or simply “catchy” often receives more recognition than work that carries serious research, thought, and hard work, but which is not represented as cleverly or strategically on social media. This can create a sense of inequality, where visibility and algorithmic success sometimes overshadow depth and substance. 

 Another important aspect is how social media affects the way art is consumed. Images are often seen for just a few seconds before being replaced by the next post, which changes our relationship with art itself. Instead of slowing down, people are trained to scroll quickly and make instant judgments. Inevitably, this also shapes the way some artists create, making them more aware of how their work will “look” on a small screen rather than how it will feel in physical space and being exhibited in front of human audiences and in real walls or rooms. At this point it might be useful to say that the exhibition process and how it is developed, is part of an artist's work, as someone has to acquire the knowledge of how to represent their work in physical spaces. 

 To conclude, I believe that social media provides powerful new opportunities for artists to share their work, reach audiences, and build communities across borders.

At the same time, it risks encouraging a more decorative or surface-level production of art -works designed to be consumed quickly rather than deeply engaged with. For me, the challenge is to find a balance: to use the tools and opportunities social media gives us, while still protecting the slower, more thoughtful process of creating art that can stand outside of the digital world. 

Do academic institutions still play a vital role in shaping artists today, or has self-taught creativity disrupted this tradition? How do you approach criticism, whether from peers, critics, or audiences? 

Academic institutions provide an environment where someone interested in gaining knowledge in art and potentially becoming an artist can do so. Being committed to a specific schedule, where a number of works are required to be completed, and interacting with professors, fellow students, and artists on a daily basis can give you great inspiration and many motives to explore the world of art and discover your own place within it. In my view, the most important part of studying art in an academic institution is the interaction with others through the constant exchange of ideas. Talking about what concerns you, discussing different subjects, and exploring new perspectives can open your mind, make you think in new ways, and give you the chance to discover why you want to make art and what your personal concerns are. 

 Furthermore, the continuous hours that students spend sketching and creating empower their skills and strengthen their understanding of drawing, color theory, and, more generally, their knowledge of art. It is, however, up to each student individually how committed they remain to the academic program. For this reason, I believe that an artist’s work ultimately depends on their personal effort. Nowadays, with the growth of the internet and the accessibility of AI, it is much easier to gain knowledge outside of academic structures. In my opinion, people can still develop their skills and create remarkable artworks without necessarily studying at an academy or university. However, it can be quite challenging to stay disciplined and, at the same time, find other artists or mentors with whom you can interact. 

At this point, I would like to highlight that the specific condition existing in art schools -talking about your work and listening to others do the same- helps you become open to criticism and flexible in handling different opinions. Comments and reviews, whether positive or negative, can always give you food for thought. Studying art and being constantly exposed to others’ criticism helps you build a strong character and not take personally what others say about your work. It can always be productive to hear what someone thinks when they look at your work, especially when they know nothing about you, and thus their reaction is purely subjective. 

However, it is also important to always keep in mind who is making the criticism -whether it comes from people with knowledge and expertise, or from those who are completely unqualified in the field. In the end, I believe that each of us has our own perspective and way of thinking. 

If you could step back into any artistic era, which would it be and why? If you could live anywhere in the world to further inspire your creativity, where would it be?

Impressionism is the artistic era that I think I would choose. I am mostly painting, although I would like to explore other materials as well, but yes, painting is what I have mostly experienced and developed in art, which is why I believe is one of the reasons that Impressionism really catches my attention and interest. First of all, it was one of the first times that artists started to doubt the way the art scene was taking place, and women artists such as Mary Cassatt also began to have a voice. Paris at that period was full of contradictions, with the Impressionists creating artworks that wrote history by depicting nature in a completely revolutionary and fresh way. 

Additionally, I love the way colors are depicted in Impressionism - this super vibrant blue and yellow catching the sunlight creates such a fresh sense in the paintings. It was one of the points that really made a difference to me when I first visited major museums in Europe and saw paintings by great artists in real life. The huge canvases of Monet, with flowers shaped by undefined lines and raw color straight from the tube, were truly shocking for me. 

If I had the chance to live anywhere in the world to further inspire my creativity, I think I would choose Japan. Asian cultures are really something else; they are so unique -or let’s say different- in the way they approach nature, religion, and even food. Japan also has an incredible tradition in ink painting and drawing, with techniques that are truly special and remarkable. Watercolors and ink painting interest me a lot, and I keep trying to bring more fluid qualities into my own drawings. That’s why I would love to go there, meet artists, study their history, and research how the first ink techniques were developed and how they continue to be used today. 

Walking through the super crowded streets of Tokyo and then moving on to small mountain villages, meeting monks in those beautiful and peaceful temples, tasting the local cuisine, or exploring the carefully maintained gardens -all of that would offer plenty of food for thought and inspiration for future works and projects.

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The reflections of Katerina Mpousiou reveal an artistic journey grounded in choice, discipline, and openness to transformation. Whether navigating moments of doubt, drawing inspiration from nature and community, or engaging with the evolving role of social media, her practice insists on both awareness of self and connection with the wider world. At its core lies a belief in persistence—an ongoing decision to sustain creativity, nurture ideas, and shape meaningful work through conscious engagement with art and life.