I’m Eugenia. I grew up in Greece, but I’ve also lived in Germany and UK. These days I live in California. I’ve been a (terrible) nurse, a computer programmer, a (rather successful) technology journalist, and a lmmaker. In April 2012, after I had just nished an animated music video, I decided to try collaging after the knowledge I gathered from making the animation. I got hooked ever since ! It’s important for me to «say» something with my artwork, so for the vast majority of my work there’s a meaning behind them. I usually do this via presenting a «narrative» scene in my collages, like there’s something bigger going on than what’s merely depicted. Sometimes the scene is witty or sarcastic, some times it’s horri c with a sense of danger or urgency, some times it’s chill. I leave it to the viewer’s imagination to ll-in the blanks of the story plot. I start by finding a “base” image, and then I sort of build around it. Sometimes I have a concrete idea of what I want to do, and sometimes I leave the images to t together by themselves. Sometimes, after a lot of juxtaposing, the “base” image might not even be part of the nal collage. Most of the time, I try to “say” something important via my art, but other times it’s just about doodling. I got into collage because I loved Julien Pacaud’s illus- trations, but it was Kieron “Cur3es” Cropper who became my main in uence. The guy’s a genius. Bryan “Glass Planet” Olson and David Delruelle are also influences of mine. From the older artists, I’d have to say, Magritte. However, I collage on many different styles: from “pop” to dada, and from modern illustrations to traditional surrealism. I don’t believe that artists should find their style”. That’s artistic death. If I have a style, it’s probably some “meta” aspect of it (e.g. the sarcasm that I usually employ in my collages), rather than something visual. Read more in our print issue