Alexis Christodoulou
ARTIST profile
DIGITAL ART
PUBLISHED IN IMPRINT
Five years ago, Alexis Christodoulou found himself in a situation unfortunately quite familiar to many people—he was working as a copywriter at an ad agency and hated it. As he was looking for a creative release, he was introduced by a friend to the 3D-modelling program SketchUp, and everything changed. Today, his Instagram is filled with intriguing worlds where surfaces, light, and shapes create spaces we could only dream of visiting.
The images that Alexis makes are all inspired by his idea of where he would like to retire for an afternoon—and as a result of his own frustration with the lack of modern aesthetics, represented the digital worlds he was introduced to through video games. He wanted to see fantastic spaces come to life, which would echo a more modern and clean aesthetic.
Inspired by everything from the buildings in his hometown, modern architecture, and the muted tones of an Aldo Rossi drawing colliding with plaster from a David Chipperfield interior, to a grid from a Superstudio drawing stretching on into infinity, Alexis aims to interest the viewer in form and material, but most importantly, in the use of light. Except for the occasional clue of past presence, the spaces are clean and devoid of human life—ultimately giving the viewer a chance to imagine how they would exist in the scene, in a new situation.
“It’s very escapist. I fill the pools right up to the top and mostly use harsh sunlight. I like to blow things out a little, and always work intuitively—starting with something simple and then adding to it until it makes sense—or until it doesn’t.”
Inspired by everything from the buildings in his hometown, modern architecture, and the muted tones of an Aldo Rossi drawing colliding with plaster from a David Chipperfield interior, to a grid from a Superstudio drawing stretching on into infinity, Alexis aims to interest the viewer in form and material, but most importantly, in the use of light. Except for the occasional clue of past presence, the spaces are clean and devoid of human life—ultimately giving the viewer a chance to imagine how they would exist in the scene, in a new situation.
“It’s very escapist. I fill the pools right up to the top and mostly use harsh sunlight. I like to blow things out a little, and always work intuitively—starting with something simple and then adding to it until it makes sense—or until it doesn’t.”
