Rina Bakis is an abstract artist whose vibrant paintings explore movement, transformation, space and time. Working instinctively, she responds to her surroundings and emotional state through colour, shape and composition, creating works characterised by energy, spontaneity and a strong sense of visual movement.
Her paintings frequently occupy a space between abstract landscape and imagined universe. Sweeping forms, energetic circular motifs and luminous layers evoke shifting environments where the natural and the otherworldly appear to converge. This sense of duality runs throughout her practice, with compositions that can feel simultaneously rooted in nature and suspended somewhere beyond a recognisable place.
Colour is fundamental to Bakis’s visual language. Radiant tones, contrasting hues and layered passages generate light and movement across the surface, drawing the viewer into worlds shaped by emotion, intuition and continual change. Rather than defining a fixed narrative, her paintings leave space for individual interpretation, encouraging viewers to form their own connections with the environments she creates.
How would you define your visual language or conceptual approach?
My work explores the abstract relation between shapes, colour and movement. I am interested in the emotional energy of a painting rather than a literal representation, allowing forms to emerge organically through layers of texture, and vibrant palettes. My paintings often suggest landscapes, botanical forms, or living creatures without fully defining them, creating a dialogue between imagination and memory.
Can you describe your creative process from conception to completion?
My process is intuitive and evolves as I paint. I rarely begin with a fixed image; instead, I start with colour and expressive marks, responding to the painting as it develops. Layers are built up, altered, and sometimes removed until a sense of balance and rhythm emerges. The titles come after the work is complete.
Does narrative, symbolism, or storytelling play a role within your work?
Rather than storytelling or illustrating a specific event, I create shapes where viewers can find their own meanings and associations. Natural forms, movement, and human connections frequently appear as symbolic elements, representing growth, resilience, transformation, and relationships between people and the natural world.
Which artists have most influenced you historically or contemporarily and why?
When I was very young I was attracted to the paintings of Hieronymus Bosch. I have been influenced by artists who combine emotional expression with abstraction such as Kandinsky, Miro and Helen Frankenthaler. I also find inspiration beyond painting in music, nature, and everyday moments of beauty and movement.
What personal, cultural, or environmental influences shape your practice?
Nature is a constant source of inspiration, particularly the changing rhythms of seasons, flowers, water, and light. Personal experiences and emotions also shape my work, often unconsciously finding their way into the paintings.
Where is your studio based, and how does the space inform your creativity?
My studio is in Primrose Hill. It is an intimate, personal space where my ideas develop freely. The natural light and the presence of works in progress create an ongoing conversation between my paintings, allowing one work to influence the next.
Do you have any rituals or rhythms that anchor your studio practice?
Classical Music often accompanies my painting process and helps establish the rhythm of my work. I like to spend time simply observing a painting before making the next mark, allowing it to suggest its own direction. Working in layers and returning to pieces over time gives the paintings space to evolve naturally.
What bodies of work or projects are you currently developing?
I am currently developing abstract works that explore movement, transformation, and the connections between natural and emotional landscapes.
Where can collectors encounter or acquire your work?
My work can be seen in my studio and also online. I always welcome enquiries from collectors interested in original paintings and future projects. I also enjoy building lasting relationships with those who connect with my paintings.
Are you self-taught, or did you undertake formal artistic training?
I have a multidisciplinary background: I studied Graphic Design for two years and completed a degree as an Architectural Technician, alongside numerous art courses in many countries where I lived over the years. These experiences gave me a strong foundation in composition, structure, and spatial awareness, while my artistic practice has continued to evolve through experimentation and independent exploration.
