Dorina Malliou


Lives and works in Thessaloniki.
1996-2001 Studies at Visual and Applied Arts Department of the Aristotle University of Thessaloniki, Greece (Studio: Yannis Fokas).


2018     Natural Bonds, Ochra Blue Artspace, Lemnos, Greece.
2017     I Am not What You See, You Are, F.A.A.TH. Art Space, Thessaloniki, Greece.
2017     Beyond the Flower, Balkan Art gallery, Xanthi, Greece.
2013     Botanica, Vafopoulio Culture Center, Thessaloniki, Greece.
2010     Flower Power, Espace Kameleon, Paris, France.
2009     Physistropia (Naturalis 2), Orfeos 20 Art space, Xanthi, Greece.
2009     Naturalis, Alatza Imaret, Municipality of Thessaloniki, Greece.
2008     The Light, Gallery La Hune Brenner, Paris, France.


2022    TIMELESS, Historical Museum of Alexandroupolis.
2022    Flower Power, FokiaNou Art Space, Athens.
2022    ArtPostal, Historical & Folklore Museum of Nikiti, Chalkidiki.
2022    Ηere, that is, Where_No Apocalypse Now, BACK TO ATHENS 9, Isaiah Mansion, Athens.
2022    NIKOS KAZANTZAKIS: SALVATORES DEI, Govedarou Art gallery, Thessaloniki.
2022    Size the Moment, CHEAPART ATHENS.
2021    Affordable art, Gallery LOLA NIKOLAOU, Thessaloniki.
2020    CHEAPART οn Screen, Culture Channel.
2020    BACK TO ATHENS 7 (Beast on a diet), International Art Festival, Athens, Greece.
2019     KRIKOS VII Contemporary Art Exhibition, Cultural Center of Chania, Greece.
2019     20+ VISUAL ARTISTS, 19th Bazaart at Eleni Lazarides Hall of MMCA, Thessaloniki.
2019     My Odyssey, Athens ArtLink, Athens, Greece.
2019     I Wonder if it is a Wonder, Container Art Café, Thessaloniki, Greece.
2019     25/25 Artists & designers, CHEAPART 84thTIF Helexpo, Thessaloniki, Greece.
2019     Affordable Art, Lola Nikolaou Art Gallery, Thessaloniki, Greece.
2019     Group Show, BALKAN ART gallery, Xanthi, Northern Greece.
2019     π3/: Contemporary design art & branding, 32nd Athens International Jewellery Show, Metropolitan Expo, Athens.
2019     Mimonisa, French Institute of Thessaloniki, Greece.
2018     50/50 Artists & Designers in Dialogue, CHEAPART Helexpo, Thessaloniki, Greece.
2018     Serendipity, Conference Center of Piraeus Bank, Thessaloniki, Greece.
2018     Belezze Diverse, Container Art Café, Thessaloniki, Greece.
2018     CHEAPART Evagoras Lanitis Center, Limassol, Cyprus.
2018     Contemporary Artist’s Book – Project 2, Old Library of Athens School of Fine Arts, Athens, Greece.
2016     ARTmART 4, Kunstlerhaus, Vienna, Austria.
2016     Contemporary Artist’s Book, Arteshop & Manifactura Art Gallery, Greek Archaeologists’ Association, Athens, Greece.
2016     Miniature, RO Art Space, Thessaloniki, Greece.
2016     16th Bazaart, MMCA (Macedonian Museum of Contemporary Art) Thessaloniki, Greece.
2016     30 years of SKETVE, Municipal Art Gallery, Thessaloniki, Greece.
2014     CHEAPART 79thTIF, Thessaloniki, Greece.
2013     Metabolism II, CHEAPART.Halandri. Athens, Greece.
2013     Flowers..and other causes, Ochra Blue Art Space , Lemnos, Greece.
2011     Arteshop PROJECT at Karagiorgis Servias 14, Athens, Greece.
2010     Ofthalmofanes, Technopolis-Gazi, Athens, Greece.
2010     50 -1 gallery, Limassol, Cyprus.
2010     ARTmART 3, Kunstlerhaus, Vienna, Austria.
2010     Power-Body-Motion, Olympic Museum of Thessaloniki, Greece.
2010     X-mas Bazaar in TinT gallery, Thessaloniki.
2009     Spring 2009 -10 New Artists, Zina Athanassiadou Gallery, Thessaloniki, Greece.
2009     In Danger, Graduated Fine Artists’ Association of the Thessaloniki, Teloglion Foundation of Art, Thessaloniki, Greece.
2008     ARTmART 1, Kunstlerhaus Vienna, Austria.
2008     14 women & I, Sarantopoulos Mills, Kaminia, Piraeus, Greece.
2007     Routes. Parallel Program of the 1st Biennale of Thessaloniki, Graduated Fine Artists’ Association of Thessaloniki, Naoussa, Kavala, Thessaloniki, Greece.
2007     Without Spring, Graduated Fine Artists’ Association of Thessaloniki, Municipal Art Gallery, Thessaloniki, Greece.
2006     The Water, Graduated Fine Artists’ Association of Thessaloniki, Loutra Paradisos, Municipality of Thessaloniki, Thessaloniki, Greece.
2004     CHEAPART Thessaloniki 04, Mylos, Thessaloniki, Greece.
2003     205 Artists paint for IOLI, Return Gallery, Athens, Greece.
2002     New Artists Exhibition, Technopolis-Gazi, Athens, Greece.
2002     1 + 1, Tobacco Factory, Kavala, Greece.
2002     Field Action Kodra, 2nd Meeting of Alternative Visual Creations, Thessaloniki, Greece.
2001     4 New Artists, Opus 39 Gallery, Nicosia, Cyprus.
2001     Small is wonderful, Vilka Artforum Gallery, Thessaloniki, Greece.
2001     Studio: Yiannis Fokas, Vilka Artforum Gallery, Thessaloniki, Greece.

Collaborator of CHEAPART GALLERY since 2004.


2001     International Airport “Eleftherios Venizelos” Competition, 2nd award. 


Teacher of the Arts at High School.


A new disquiet - Konstantinos Matsoukas, M. Phil - 2018

With time’s passing, a new daring has become visible in the manner in which Dorina Malliou explores her particular artistic idiom, through mixed media on paper.

While the old robustness and competency remain, as does the fondness for detail, the yearning for the infinite seems to have retreated. A decade earlier, in her works we faced an enclosed interiority with openings to infinity. “Mementos from Eden”, as they had been called. There, the gaze ponders spatiality as a process of mutual interpenetration.

Now, the stakes have shifted. The old “totalitarian sensuality” no longer monopolizes the field with its indisputable charm. Nowadays, it is only one element in an extended vocabulary. Also, the character of what is being articulated today, is much more interrogative. It concerns the interrelations of things, everything than can, or cannot, eventuate in the space in-between. The question is not rhetorical, but rather, open, possessing the tone of a challenge.

The issue of pleasure, always central to Malliou’s concerns, is being redefined, especially with reference to the blissful self-sufficiency of older works. Today, the seductive variety of organic forms participates as a constituent element, rather than dominate. Aspects of subversion, rivalry, abrogation invade the field as geometric forms, without apology, composing a new, confrontational language. Coexistence, even if it transpires inside a mandala, is conceived in terms of difference, rather than identity.

In the course of this process, the risks taken with the composition, in several works are important. This fact alone signifies a shift. The robust, loquacious painting of N.M. is exploring a new polyphony. And, clearly, the matters under investigation are not exhausted within the paintings’ frame.

Through the uncertain flights of some of the works, the contiguity of sharp oppositions, the rupturing of self-enclosed desire, an essential gain is made. This is none other than the rendering unto pleasure of suffering. As psychoanalysis tirelessly reminds us, the infeasibility of proximity, the terror of intimacy, the incommensurability of wishes, the unpredictability of outcomes, are fundamental aspects of the riddle of desire. By bringing these to the fore, with characteristic and singular recklessness, Malliou concedes to leaving Eden behind in exchange for a new, sometimes resounding, dramatic impact.

Konstantinos Matsoukas


Beyond the Flower - Maria Hatzikefala, Μ.Α. Art Historian - 2017

Through the years Dorina Malliou’s artistic search evolves, yet stays faithful to the principles of Pattern Painting, focusing primarily on the complex and polymorphic designs and colours only to end up to structure and meaning.

Her designs/compositions are characterized by a decorative “arrangement” of the elements into such forms and analogies that carry the feeling and symbolism with a fine balance.

Dorina takes advantage of the dynamics of forms and materials in order to create spaces. With a discriminating disrespect she mixes materials, forms and canvas. Her humble pencil, even after hard and patient manual work, still stands as a worthy means along with pure colour and supplements the painter’s artistic repertoire.

It is the result of an aesthetic sensitivity which presupposes the coordination of the rhythm of cosmic movements so as to convert meaning into feeling.

The result refers to the symbolic function of the eternal law of the universe through rhythm, harmony and precision. It also refers to a metaphysical perception that lies beneath the surface of things; a reality in its primary structure that generates secondary feelings and ideas.

Colour and lines are combined so as to lead to an internal life of forms, touching secret the strings which vibrate the senses and create emotion, revealing  the  pureness of mental state.

Maria Hatzikefala, M.A.

 Art Historian

Botanica - Elli Kokkini Kaplani, Art Historian, Art Critic - 2013

Έως σήμερα, οι δεσμοί που έχει αναπτύξει η Ντορίνα Μάλλιου με τη φύση φαίνεται πως ξεπερνούν τα καθαρά και απλά καλλιτεχνικά πλαίσια και γίνονται αναπόσπαστο κομμάτι της καλλιτεχνικής της ανησυχίας.

Τα έργα της, ενώ ουσιαστικά κινούνται πάνω σε μία αδιάφθορη πραγματικότητα, δείχνουν να υποστηρίζουν την παράδοση μιας συμβολικής ιδέας, βάζοντας σε κίνηση το μηχανισμό αντίρροπων φαντασιώσεων.

Η εντύπωση που δίνουν οι φυτοφόρες συνθέσεις της, δυναμικές και ονειρικές συνάμα, καταδείχνει ένα άνοιγμα πέρα για πέρα οντολογικά υπερφυσικό, ανεξιχνίαστο στην πολυπλοκότητά του, ελκτικό όμως για την εξωτική του χρωματική και σχεδιαστική πανδαισία.

Στην πρόσφατη τριμερή σειρά έργων της, η Μάλλιου «καλλιεργεί» στο πρώτο μέρος εύστοχα ιδέες, στις οποίες αντιφεγγίζονται η οργανική ζωντάνια της φυτικής ύλης, η πολυπλοκότητα των πολυμορφικών τους συστημάτων, η παλλόμενη, χρωματική συλλειτουργία και οι εντάσεις της, ενισχυμένη από τις δονήσεις του φωτός. Στο επόμενο βήμα της, με βάση αυτό το συνθετικό πυρετό, προχωρά σε ετερόκλητες συνθέσεις, όπου οι εξπρεσιονιστικές και έντονες χρωματικά, σύμμετρες ή μη φόρμες, εμπλεκόμενες με φυτικά μοτίβα, κυρίως ανθοφόρα, δημιουργούν περιβάλλοντα συνοψισμένα, που παραπέμπουν σε εικόνες με μία αδιόρατη τρυφερότητα αλλά και δυναμισμό, δράση, αναζητήσεις.

Στην τρίτη επιλογή της, έργα που η ίδια χαρακτηρίζει ως σχέδια, αναδεικνύονται με περιγράμματα οι λεπτομέρειες του ανθοφόρου σχεδιασμού, ευκρινείς μέσα από τις απαλές αποχρώσεις του ιώδους και του ροζ, με τις οποίες τον επενδύει.
Η δομή των έργων της ιδιότυπης αυτής ανθοφόρου ενότητας, φόρος τιμής, όπως αναφέρει στη Georgia O΄Keefe, καλλιτέχνιδα που ύμνησε την ομορφιά των λουλουδιών, διαφοροποιείται από τη σύσταση των προηγούμενων.

Γίνεται με μολύβι πάνω σε ύφασμα, γεγονός που δεν επιδέχεται διορθώσεις, ενδύεται με χρώματα ακουαρέλας και η ανάπτυξη των μοτίβων ξεκινά από έναν κεντρικό πυρήνα και απλώνεται κυκλικά με περίτεχνους, καμπυλόσχημους σχεδιασμούς. Οι συμβολισμοί όπως και οι ερμηνείες που προκύπτουν είναι ποικιλώνυμες. Όπως ότι από έναν μυστηριώδη πυρήνα ξεκινά και αναπτύσσεται κάθε ζωτική δημιουργία, η ίδια η ζωή μέσα από τη γυναικεία μήτρα.

Στην πλοκή αυτών των, ποιητικών θα λέγαμε, σχημάτων μπορεί κανείς να ανακαλύψει ανθρωπόμορφες και ζωόμορφες φιγούρες, ανάλαφρα δοσμένες μέσα σε μία συμπαντική, χορευτική δίνη.
Με τα έργα αυτής της τριμερούς ομάδας η Μάλλιου κάνει πιο διεισδυτική την αντίληψή μας για τον κόσμο. Με τρόπο εύσχημο επαναφέρει ένα είδος όπως η ανθογραφία, που ως αυτοτελές θέμα έχει απασχολήσει καλλιτέχνες και κατά το παρελθόν.

Οι δικοί της στόχοι προχωρούν σε ενδοσκοπήσεις του φυτικού πλούτου, της ανθοφορίας, της αέναης, ζωτικής αναπαραγωγής τους. Και μέσω της διαδικασίας αυτής αναδεικνύεται η προσωπική της ικανότητα να διαχειρίζεται ένα θέμα θεωρητικά απλό, με τρόπους που προσφέρουν μία λυρική και γιατί όχι αισθησιακή εικόνα ενός μαγεμένου ανθόκηπου, ορατού και κρυμμένου, με πτυχές και προοπτικές νέων εξερευνήσεων.

Έλλη Κοκκίνη Καπλάνη
Ιστορικός, Κριτικός Τέχνης
Προϊσταμένη Τμήματος Πολιτιστικών Εκδηλώσεων &
Εικαστικών Τεχνών
Βαφοπούλειου Πνευματικού Κέντρου

Naturalis - Eleni Katsarka, Art Historian - 2009

All of a sudden-as if awaken from a deep sleep- you find yourself gazing at heavenly gardens where shapes, colors, scents, adventures, experiences, memories and dreams flourish. Leaves of blue and green morning dew and transparent shadows embrace beauty and samples of glaring fauna capture red, sapphire, orange and violet.

This is the first impression of Dorina Malliou’s colorful world of painting and her compositions that remind us of efflorescent jungles- an Eden of senses and thrills. These works of art, so effortlessly created, do not intend to imitate reality but to create a new reality. A new reality that will free us from the tension of our deafening daily routine, calm us down with its whisper of peaceful beauty and comfort us just like fairy tales do.

Through the dramatic eruptions of color, the glaring shades, the condensation and dilution of matter, the rough outlines and the unpredictable ways of the lines we can recognize samples of this new reality. The mysterious and invisible starts to reveal itself silently and noiselessly and we come to acknowledge the imprint of the experiential knowledge and the very essence of a personal truth that lies behind the extrovert work of Dorina Malliou. Through the creative euphoria and the pure joy of life that stem through the optimism and dynamic character of the artist, well hidden aspects of her fragile, poetic and reflective  nature are revealed.    

This second, more careful interpretation of her work allows us to discern and experience everything we could not see at first sight. It allows us to distinguish the perspicacious use of color matter that imparts a new, transcendent dimension to the contrasts of colors. A tendency for soul-searching and insight so effectively described through the fine and noble lines. It is the artist’s perception of the world that can ignite authentic aesthetic thrills.

We can now discern the essence of things, the way the mind deals with the study of ‘being’ and ‘becoming’. ……the complicated whirlwind of images sounds like a visual confession. The kaleidoscopic colors vibrate by the soul that lusts for discovery. The dynamic pulse obeys the demands of an alive being and seems capable of a never-ending evolution. These coherences generate a kind of painting that a goes a step beyond the joy of creation and the search for truth. They generate a kind of painting that aspires to appropriate moments of the grandeur and the perfection of Creation.

The glaring microcosm of plants that springs out of the artist’s paint brush is now fighting to survive, struggling to find its way into space, conquer time and spread to light just like vegetation grows and overpowers immobility. The complicated rhythm of the painting echoes Odysseus’ struggle for survival. The various organic shapes remind us the adventures of life. The lines, shapes and colors seem to derive knowledge from the complex structure of the universe. The chaotic dynamics of nature are present in the whole painting and in every detail since the random organization of matter structures the complex configurations in an unpredictable way and imparts a ‘universal’ charm to the painting.

It is said that Chinese writing uses fifty different symbols to imprint the fall of a leaf. Fifty different ideograms are used to describe something as sensitive and fragile as the ‘end’ of a leaf. This is one of the best examples to describe the poetic perception of the world. Dorina Malliou, genuinely expressing this perception, is tirelessly and endlessly looking for ways to transfuse her artistic vision imprinting with poetic detail the world that surrounds her.

Exuberant and yet refined, brave and enchanting, fiery but also nostalgic, vigorous and comforting,

    Eleni Katsarka

    Art Historian

    Light / Φως - Maria Hatzikefala, Art Historian - 2008

    “The bright light dazzles me, I close my eyes and the depictions are within me.”

    The familiar environment of the natural and urban landscape, through the painting process, is recomposed into a new personal artistic vocabulary. A world unfolds through the forms that light itself generates. Attractive images emerge that have naturalism and rhythm. Through an alternation of crescendo and diminuento, a garden of colors, delicate senses and magical images is created.

    Sometimes the image seems blurry and incoherent, it seems to state qualities such as those, which more on the verge of reality and abstraction. Even though the surroundings spaces recognizable it enclosed a chaotic force. Naturalistic and subtractive elements interchange to create a new imaginary dimension. The small scale becomes comprehensible and descriptive, the large scale becomes more abstract. The light and the experience of the viewer-observer determines the manner of recognition of the image, which can surprise, appease or stimulate.


    Maria Hatzikefala

    Art Historian


    • 31.7.2018/ Voice issue 667, ATHENS Voice issue 672, 681./ 22.03.2011/
    • Gala close up, June, Νο 158
    • Sunday magazine Νο 371, 31-5-09 
    • ΒΗΜagazino, Issue 399, 8 June 2008
    • ‘Κ’ ΚΑΘΗΜΕΡΙΝΗ, Issue 244 
    • GLOW, January 2008
    • Fanζείν Milos, Issue 138 July 2005
    • Fanζείν Milos, Issue 141 November 2005
    • Projects: Athens Art LINK

    Photographic material

    Flowers and other causes 2013 a
    Flowers and other causes 2013 b
    CHEAPART Halandri Metabolism 2011 a
    CHEAPART Halandri Metabolism 2011 b


    “I dream of an art of balance of purity and serenity, free from worrying or depressing issues… which could be είδος a kind of soothing, soothing mind, something like a comfortable armchair in which to rest from physical fatigue.”

    Henri Matisse


    Photo edit by Sakis Gioumpasis

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