Childhood

Multimedia artist Ioannis Polychronopoulos specializes in painting, digital installations, and audiovisuals. He pursued his degree studies in the Fine Arts after first studying animation. He has recently completed his Master’s Degree “Art and Public Space” (School of Fine Arts, University of Ioannina) and he received financing from the Onassis Stegi Foundation to exhibit his project/installation in the public space (2024). The goal of his research is to create audio-visual works by combining different digital and traditional media with the potential of digital technologies. He also had the chance to display his works in both solo and group shows both in Greece and beyond.[“Skin Memory”] (2023-2024) output : Audio-visual work / videoprojection (looped)  1m [looped]
 link : https://vimeo.com/813707970 
An audio-visual project that combines video projection with a watercolor painting.
 A hyper-magnified view of skin is depicted painterly, overlaid by a sequence of edited old childhood and teenage photographs. This work, with reference to skin, memory and time, attempts a correlation of real and imaginary within a technological and painterly field. The skin is charged with shadows of memories, "snapshots" faded in time where they are reflected and re-created, activating and retrieving emotions engraved in the subconscious. Τhe skin is hurting, the skin remembers..

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Inspired by childhood games and memories, these embroidered vintage handkerchiefs reflect my experience as an only child, often left alone at home. Children’s literature and television—especially English stories—became my window to the world. Arriving in the UK felt like returning to a mental homeland.
While exploring vintage markets, I began collecting handkerchiefs that evoked fragments of childhood. I now use them as canvases, embroidering memories onto their delicate fabric. As a beginner in embroidery, the process made me feel like a child again—tentatively exploring the world for the first time. Unlike painting, embroidery is permanent: each stitch carries intention, and even the mistakes become part of the work, adding a quiet, innocent charm. 
Thread, for me, symbolises connection. It links me not only to my own childhood but to an imagined one in England, and perhaps even to something more universal: the shared childhood of humankind.

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

Blue Drifting is a poetic series of dreamlike paintings exploring childhood memories through soft, dreamcore-inspired blues. Symbolized by goldfish, the works reflect on the past, capturing the artist's nostalgia as someone born in the millennium, experiencing rapid societal changes that now feel dreamlike. Each painting integrates delicate imagery such as marbles, paper boats, carousels, family portraits, and whimsical bathtub scenes, seamlessly blending reality with imagination. This gentle, introspective atmosphere invites viewers into a tranquil yet subtly melancholic reflection on their own childhood, highlighting the fleeting nature of memories and the passage of time. 

 

A dandelion clock is a child’s measure of time. Time is measured by imagination and play. Time is 
measured blow by blow. The flower has rays like the sun. It fades in time, but the seed head 
becomes a globe of promise. The child in time has a part to play in making time. There is an eternity 
in the moment of hope. This Hampshire field is from my grandson’s viewpoint. I took this picture of 
children in Gaza in 1974. I do not know what has happened to them since.

I am a retired sociology teacher living in Winchester. I have taught in China and worked for Friends 
International. I enjoy painting and photography and belong to the Badger Farm Art Group. I have 
four sons and one 18-month-old grandson who is learning about dandelion clocks.

I’ve drawn and painted since childhood, a passion that led me to study Fine Art at The Slade and gain an ATD from the Institute of Education. I’ve exhibited with the Royal Society of Portrait Painters, the Pastel Society, and in numerous galleries and exhibitions across the UK.​
Childhood is a state of vulnerability, and in the early stages of life, the child seeks the warmth and protection that an adult may give it as a stronger being in the outside world. The needs of the child for security are a protection. The Child leaves the darkness of the womb and gradually ventures into the outside world. In my painting, I have tried to express this by the use of colour and contrast of light and dark. The use of different mediums and a variety of techniques applied in layers gives mood and encourages an emotive response.

Who am I? 
Create picture book-style illustrations that focus on vague emotional states and dreamlike fragments of memory. I am skilled at using gentle and delicate visual language to construct emotional atmospheres, exploring those inner experiences that are difficult to put into words and the echoes of childhood emotions. 

Who am I? 
Create picture book-style illustrations that focus on vague emotional states and dreamlike fragments of memory. I am skilled at using gentle and delicate visual language to construct emotional atmospheres, exploring those inner experiences that are difficult to put into words and the echoes of childhood emotions. 

Who am I? 
Create picture book-style illustrations that focus on vague emotional states and dreamlike fragments of memory. I am skilled at using gentle and delicate visual language to construct emotional atmospheres, exploring those inner experiences that are difficult to put into words and the echoes of childhood emotions. 

Bare Foot Area is a work symbolising my childhood in Hong Kong. Lying on the floor is my comfort move in that familiar space. The dotted plastic tiles silently bear witness to the changes of the past 50 years. I crawled and ran on this smooth surface, a monochromic old-fashioned square with hair and dust. Composed of layers of Xuan paper and plaster, it looks thin and fragile, but tough and solid. The materiality presents an experimental nature of my practices and the core connection between me and my childhood.