1959-2016. Petros was born at Kleiston, Euritania, Greece
He studied at the School of Fine Arts of Athens from 1992 to 1998.
In particular, he studied painting with D. Kokkinidi and R. Papaspirou and engraving with G. Papadaki and G. Miliou.
He graduated with distinction.
During 2015 he followed an update program on creative design for the digital era at the School of Fine Arts of Athens.
1996: Environmental education. Specialised course. Athens
1987-1989: Drawing and history of Arts. Th. Pantou lab, Athens
1985-1986: Education. Academia of Education, Lamia, Greece
1977-1984: Economics. School of Economics, University of Athens
From 1991 he worked as a teacher in public schools. During these years, ongoing research allowed him to introduce new practices on environmental education and integration processes. Through art he developed a complex pedagogic work, which was still in progress at the time of his death.
In his dual capacity as a visual artist and a teacher, while working on the concept of coexistence in one space with participative visual artistic activities, he gained significant experience in empowering and encouraging groups of children in schools and other social spaces.
(Museum of children’s art, Lascarideios library of Piraeus).
His art has been presented in 7 personal exhibitions:
2017. In Memoriam Petros Batsiaris – Eine Verabschiedung, art 18, Wien
2015. Continuities and discontinuities, Double Feature, art 18, Wien
2012. Whose stories? Podium, Wien
2011. Images for the emergence of new forms, Die Ausstellung, Wien
2010. Passage to a different situation, Stammkaffee, Wien
2006. Back to innocence, Bâtiment JMO – Kirchberg, Luxembourg
2004. Coexistence in open landscapes, with V. Chatzis, Diavasi, Athens
... and in many group exhibitions in Greece and abroad. Some of them are:
2017. Kimolos, Art Walk. Reworking the 2016 installation
2016. Kimolos, Earth – Terra Firma, Art Walk
2016. Winter’s garden. Participation in the exhibition: (test) in between of Katerina Athanasiou, Beton 7 Gallery
2014. “Metabolism” Cheepart , Athens
2014. “Antifascist memory and consciousness”, Aigaleo, Athens
2011. “Home”, Diavasi, Technopolis, Municipality of Athens
2010. “Bread of luxury, bread of subjection”, Mars Field Gallery
2009. “Galleria BWA”,Rzeszów, Poland
2008. “The public market of Kipseli as a self-organized space”, Athens
2007. “The olive tree paths”, Gallery Psicharis, Athens
2005. “Nearby and opposite” Galatsi, Technochoros “π”
2005. “Music and painting”, Gallery Psicharis, Athens
2002. “Vision, study and planning for the future of the industrial unit”, Center for Mediterranean Architecture, Chania, Crete, Greece
2001. “Piraeus”. He is awarded for his work “A design of memory in 9/8 scale”.
1998. “5 graduates of the School of Fine Arts” Gallery “Tzamia kai Kristalla”, Chania, Crete, Greece
1997-2000: “Renaissance festival of Rethymno”, Gallery “Dimito”, Rethymno
2001. He is awarded for his work “A design of memory in 9/8 scale” in the ISAP competition “The Piraeus train station – Its remodelling”
2013. He is awarded in the photography competition “Greece – a small, a beautiful and a fascinating place” organized by the Greek social network “Filoi tis Fisis”:
third prize in category B2 “Athens walls have a voice” (colour) for the photo “From the album of the City – Exarchia”
second prize in category B2 “Greece’s walls have a voice” (black and white) for the photo “A lost innocence”
2001. Co-author with Antiopi Frantzi of the environmental fairy-tail “Ta taksidia tou Kotsifa”, published as educational material by Kaleidoscopeion publications.
1994. He illustrates the book “Prelouda” by Maro Sfakianopoulou, published by Delphini publications.
Installations of his work public spaces
2001-2003. His work “A design of memory in 9/8 scale” is installed to decorate, until 2003, the Piraeus train station.
A few words about his work
His paintings, these unexpected landscapes of life and nature, explore the dipoles of time and space, of the inside and the outside of the city, of geometry and flow. All this, as well as the concepts of passage and wandering, of continuities and discontinuities, feed his personal communication code.
The means of expression developed by him, with color, archetypal and imaginary presentations, are expanding with the stories of the city's imaginary walls, the digital treatment of the narratives of mobility and trace.
They take on other dimensions through actions with groups of teachers and children in schools and the resulting experiences and participatory practices and more recently with the interrogation of functions related to the popular-art derivative, kilims and carpets as temporal, spatial and intercultural stratification.