Georgia studied calligraphy with an art teacher in the British Arts and Crafts revival tradition. She received her degree in Art History and is especially interested in the history of letters, iconography and gilding. Her family in Greece has strong roots in the art world that also fuelled her interest and love of these arts. Her great uncle, Spyros Papaloukas, was a tremendous inspiration to her. He spent time at the monastery of Mt. Athos, studying and copying Byzantine illuminated manuscripts and painting. His work contributed to the evolution of a unique artistic voice with an inherent connection to literacy and civilization, and Georgia is keen to follow his example in her own field.


Georgia teaches calligraphy internationally and collaborates as well with other artists. Her work is selected and featured in several publications including Letter Arts Review and Bound and Lettered and she has contributed to The World Encyclopedia of Calligraphy and Mastering Calligraphy. She is a participant of the International Exhibition of Calligraphy, which gathers scribes from around the world to exhibit and lecture so as to create “a peaceful and beautiful society” and keep the art of calligraphy current. To this end Georgia has lectured in Russia on the topic of ‘The Legacy of Greek Letters’, and her work is housed at the Museum of Contemporary Calligraphy in Moscow.


Understanding how letters evolved is like putting a finger on the pulse of civilization; it furnishes a rich perspective on written communication through time and a way of understanding the present and contemporary modes of communication. Georgia’s work is grounded in the traditions of manuscript writing. While she uses traditional tools and materials such as quills, reeds, parchment, papyrus, as well as medieval illuminating techniques, she strives, in her less formal work, to create contemporary pieces where the beauty of language resonates from the written word. Her interest in both Greek and English literature and letterforms goes a long way in exploring and bridging the richness of ‘cultural identity’. The beauty of hand-wrought words, carefully and poignantly written, counterbalances an increasing trend toward impersonal, mechanical forms of communication.


"I need not worry whether I am an artist or a craftsman.

Nor need I waste time arguing that calligraphy should be taken seriously because it is an art like dance or music.  It is something in its own right entirely, with an ancient lineage

and a deep responsibility.  It has a place at the heart of our ongoing cultural activity.  Other people will take my art seriously when I take them seriously, when I speak from my heart to theirs, in my marks, in my mastery of tradition, in my making of meaningful things, and in my participation in the great upwelling that is life."


From Calligraphy of the Heart by Ewan Clayton

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