Odysseas Tosounidis is a sculptor born in Georgia and living in Greece. His artistic journey began with the family tradition of stone carving and continued with specialization at the traditional marble school in Tinos. With art education from both Georgia and Greece, he developed a unique style. Through the awards he has won at international symposiums and the artworks he has exhibited worldwide, he stands out as an artist who shapes human experiences and emotions within stone.
Could you briefly tell our readers about yourself?
Born in 1983 in Tbilisi, Georgia, I live in Greece.
Education
2011-2013 Master in National Academy of fine Arts, Tbilisi, Georgia.
2007-2011 National Academy of fine Arts, Tbilisi, Georgia
2002- 2005 Tinos School of Fine Arts, Tinos Island, Greece.
Prizes & Awards
2011 The first place in 3rd International Sculpture Symposium with Granite, Ust-Kamenogorsk, Kazakhstan
2017 The first place in 1st International Sculpture Symposium in Estonia
2021 -2023 Creator of Who is Who International Awards
2024 Creator of Awards, for international short film in Drama Greece
Member
Chamber of Fine Arts of Greece
Chamber of Plastic Arts of Georgia
Visual Artists Association of Northern Greece.
How did you start your career as a sculptor? When and how did you decide to become interested in art?
My father and grandfather both mastered the art of stone carving, especially granite. My first contact was when my father brought a piece of granite. This was the reason I got involved in sculpture. At that time, there was a marble school in my city of Drama that taught you the first basic things about sculpture. I was lucky because at that time the first international sculpture symposium was held in my city. Sculptors came from all over the world, I was their assistant. The sculpture symposium was organized every May for three years and I was there with them. It was a wonderful experience, that’s when I realized that sculpture is part of my life.
My next move was to go to an island in Tinos which has a school of fine arts that specializes in a traditional way on marble, everything was done by hand. We took clay classes with models, painting, sculpture, architectural design and marble sculpture. I continued my studies at the Tbilisi State Academy where I also got my master’s degree. A very good school with very special and good teachers, I got a lot of nice elements from them and I combined them in my work, I joined the schools of Greece and Georgia. In the fourth year of my student life I sent a first prize to an international sculpture symposium in Kazakhstan. I did not expect it but they accepted me. It was my first sculpture symposium with granite as the material. They didn’t know that I was the organizer, that I was still a student. I even won first place.
What emotional or aesthetic messages do you aim to convey in your artistic works? What kind of reactions do you hope to get from the audience?
I’d want to convey a sense of both introspection and connection an exploration of the human experience, emotions, and the interaction between the individual and the world. My sculptures would aim to evoke a sense of both beauty and tension, encouraging people to reflect on the complexity of life and their personal journeys. The rawness of emotion, the vulnerability of a single figure, or the interplay between different forms could communicate feelings of longing, joy, conflict, or peace.
I’d hope to spark a wide range of reactions in the audience perhaps a sense of awe, curiosity, or even discomfort. Ultimately, I’d want people to leave with something deeper: a moment of self-reflection or connection to others. Whether it’s inspiration, discomfort that leads to thought, or a sense of calm, the goal would be to push people to reflect on how they fit within the larger narrative of human emotion and existence.
What do you pay attention to when choosing the marble you use in your sculptures? Which marble do you prefer and why?
When choosing marble for sculptures, I’d focus on several key factors: color, texture, and consistency. The color sets the tone for the piece, whether I want a stark contrast, like pure white marble, or something with more warmth and veins, such as a deep green or rich brown. The texture plays a huge role too, as the surface can vary from smooth and polished to rougher, more raw qualities that add to the sculpture’s mood. I’d also look at the consistency of the stone marble with fewer veins or impurities would be preferable for more intricate or delicate details, as these imperfections could interfere with my vision.
It depends on the project what marble I will choose. It plays an important role and this also, most of the time it happens the opposite, the marble itself chooses me to create a project. In general, I prefer hard marbles like granite. Each material has its history, its strength, its energy. The most important thing is to respect everything that marble carries within it.
What are the biggest challenges you face when working with marble and what strategies do you use to overcome these challenges?
Working with marble presents several challenges, each requiring patience, precision, and careful planning. One of the biggest hurdles is the hardness of the material marble is a tough stone, and achieving fine details without damaging the sculpture or the tool can be a real test. Marble can also have veins and inconsistencies, such as cracks or imperfections, that could disrupt the flow of the design, making it difficult to preserve the vision for the piece.
To overcome these challenges, I would rely on several strategies:
Pre-planning and careful selection: Before starting a project, I’d spend time selecting the right piece of marble, ensuring it’s the right size, color, and consistency. This way, I can avoid hidden flaws that might affect the sculpting process later on. Working with a smaller, cleaner block at the beginning can allow for more control.
Using the right tools and techniques: For tough sections, I would use a combination of chisels and rasps, moving from coarse to finer tools. A point chisel is great for rough work, while a flat chisel is used for smoothing out larger areas. For finer details, tools like files and sandpaper help create that polished, refined surface. I would take a gradual approach, working with controlled, deliberate strokes to avoid unexpected breakages.
Marble can be unforgiving, so it’s essential to work slowly and thoughtfully. Rushing can lead to mistakes that can’t be undone. I would take frequent breaks to step back, evaluate my progress, and keep the vision clear. It’s all about being mindful of how the marble responds.
If I encounter cracks or veins that could interfere with the form, I might incorporate them into the design or even use them as part of the sculpture’s character.
Marble dust can be harmful, and wear protective gear like a mask, goggles, and gloves. The tools can be heavy and dangerous, so using them carefully and with proper technique is essential.
Which projects and goals in your artistic journey excite you? What are your plans for the near future?
Several works excite me from my work, some not so much. The main thing is that they excite the viewers and speak to them, that they are of interest to the viewers. Each work is a part of my life and my story. So I could not be objective with my works. As for my future plans, I would like to work more. The work constantly brings something new, new ideas, I would like to participate in sculpture symposia, meet friends, discuss the works. I would also like to do a sculpture exhibition with something completely new, a new idea, something I do not know, something special that would make me flourish a lot.
Can you share the names and characteristics of a few of your favorite projects?
It is a work of green marble that you have made in Greece which is very hard, it looked a lot like granite, the thickness of the work was one meter, all I did was enter from one side and exit from the other in a special way, but the strange thing about this whole work was that when it approached the hole it was like a shell, that is, it made a sound, that’s why I called it the womb.
‘’Womb’’
Material: Green Marble
Dimensions: 1.65 x 1.60x 1.00
Greece 2013
The second work is called Dryads, in ancient Greek mythology they were the brides of the forests. I created this work in Turkey. It consists of five three-meter figures that are next to each other. They look like a family or they also look like they are souls. These works do not have any characteristics, that resemble prehistoric works.
Dryads
Material: Marble
Dimensions: 3.40 x 2.50 x 1.50
Turkey 2016
+90 532 585 51 95
+90 532 585 51 95