top of page



The multiverse (or meta-universe) is the hypothetical set of possible universes, including the universe in which we live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, and the physical and psychical laws and constants that describe them.

The various universes within the multiverse are called "parallel universes", "other universes" or

"alternative universes.



"In reality, however, every ego, so far from being a unity is in the highest degree a manifold world, a constellated heaven, a chaos of forms, of states and stages, of inheritances and potentialities." Hermann Hesse , SteppenWolf


collage digitally composed of low-resolution images of classical paintings and other images randomly collected from the internet.


oil paintings.


 Inspiration comes in many forms and indeed through various sources none of which, as I am consistently reminded through my work, are entirely synchronic nor operate within a vacuum. The very nature of daily global and biopolitical narratives, which form the fabric of our consciousness is in a sense revisitation of ‘past’ wounds and glories set to contemporary melodies/cacophonies. These evolutionary overlaps, which articulate the multifaceted nature of the human condition and our socio-cultural relations, have enthralled me to the point of deep fascination generating a will to construct works that act as grounds for hope and optimism. This meta-narrative, which ripples throughout these captivating projects, has come about by exploring these synergies within different mediums over time. As the following overview makes clear, the journey of residual effects is ongoing and evolutionary gaining momentum through the provocation of unchartered frontiers.


In the series entitled ‘Multiverse,” I have sought to explore the concept of the universe as an expanse comprised of multiverses, in which all lived activity and experience converge in a way that defies the laws of time and space. Taking this intellectual provocation as a point of departure, each piece articulates the idea that cultural, social and political anthropology exists and develops within evolutionary multiverses throughout history. The works compress this organic oeuvre by focussing on its cellular arrangement depicted through a collage of fragments taken from images that have dominated a community of thought during various epochs throughout history. This visual praxis celebrates the complex and fruitful dynamism of multiverses as a continuation of ideas that resonate across time, whilst offering an insight into how the fabric of identity is constructed as a meta-narrative of the schism between belonging and alienation, attachment and detachment. The resulting representations are in as such cultural products that unify anxieties surrounding postmodern concepts of identity in a bid to isolate the essence of a seemingly simpler story; that we belong to no one and everyone simultaneously within a liminal multiverse. 


The significance of this essence and landscape lies in its narrativization of what we can call ‘true reality: an ongoing collection of individual realities that interact and shape each other.  As Carl Yung said: “The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.”  Multiverses are thus streams of malleable energy flow, influenced by all such interactions, bound in this case by the cognitive and emotional interaction between creator and observer. A defining [hi]story within a single word or picture, is thus rendered an impossible and unfeasible undertaking. There is no fixed human nature/reality; like it or not we are all cross-breeds and our minds and actions reflect personal realities. Furthermore, no matter what our origins, our human DNA is constantly evolving due to environmental, technological, cultural, political, economic, emotional and personal circumstances. Identity and reality are neither maintained nor achieved through a single intrinsic or extrinsic definition, as our cellular transcript is diachronic, not static. Everything is a unique combination of everything; an important reminder during these turbulent times of shifting nations and mass migration. We are many and we are one.  

Treasure Island, MULTIVERSE

Honourable Mention of the Jury - T.I.N.A. 2015 Lisbon-Los Angeles-San Paulo  

Social Art Award 2017, Berlin, Germany

Salon D 'Automne, En Plo Gallery/The Old Powerhouse, Paphos

18th Asian Art Biennial 2018 Shilpakala Academy Dhaka, Bangladesh

4-Nina Sumarac_I Refuse to Live in Fear, METAVERSE_Orig. drawings and paintings with the c

Original drawings and paintings with the collage digitally processed_ 120x70cm_ 2022 c. 
Conversation in Red NH NS 2022 x.jpg
Conversation in Red, NH II
Exhibition Ignite the Future by INSTINC D @ Physical and Metaverse Gallery, Singapore. curators: Aleksandra Jovanić, Icki and Teng Yen Hui
see more works NH here:


Artist after Artists


Digital collage.

Source of original images:

Google Chrome images 

The program used: Adobe Photoshop.

Time spent creating: 30 days

Original title:

Nothing Compares to You. MULTIVERSE

Winner of the 1st prize in Digital Art,
selected by The International Prize of Contemporary Art – 2nd LYNX 2016  Trieste, Italy.

As well Exhibited at:

JanKossen Contemporary Gallery New York

Lokarjeva galery, Ajdovščina, Slovenia

Sala degli Archi of the New Fortress, Livorno, Italy

CICA Museum미술관은, South Korea

Art Pavilion "Cvijeta Zuzorić", Belgrade 

and elsewhere


1st edition was purchased  by the
State Gallery of Contemporary Art in Cyprus.

"Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange"

The tempest (1611–12)


This piece began as a research entry for the Irish Biennial… Although the artist missed the deadline, having become so engrossed in the process of collating seemingly disparate images of Ireland’s rich history into a unified collage, the piece evolved regardless. Ironically, the work continues to capture this constant state of becoming in a way that defies stable interpretations and comparisons but creates a space for viewers to develop their perspectives. This open-endlessness highlights the tensions between inner and outer landscapes and truth and possession, which shaped the artist’s process and inspiration in terms of selecting images from open-access digital media while navigating her perspective.

(2022 differently called) 

'Artist After Artists' is composed digitally by the artist using low-resolution images of well-known classical art paintings*,  acquired randomly via the Google search engine. Artist merged the selected parts into a new narrative, one driven by her intuition, past experiences, and present state of mind. 


Algorithm after Artist after Artists


'Algorithm after Artist after Artists' is one of an infinite number of hypothetical versions of the first work algorithmically processed through the program. This dreamlike psychedelic landscape trip, in this case through the random, mysterious, and yet somehow familiar terrain is created by a convolutional neural network (ConvNet).


* William John Leech (1881-1968), A Convent Garden, Brittany, c. 1913,  Oil painting; Potato Planters, Jean-François Millet, about 1861; La Tempesta, Giorgione, c. 1508, oil painting; River Landscape with Horseman and Peasants, about 1658-60, Aelbert Cuyp, Landscape Photography, Faroe Islands, Denmark; Poulnabrone dolmen , portal tomb in the Burren, Neolithic period, County Clare, Ireland,; "Storks" Joseph Chełmoński, 1900, Poland ; Irish Fairy Tales illustration , by William Butler Yeats; Brian Boru sculpture outside Chapel Royal, Dublin, Dublin Castle; Frederic William Burton's 'The Meeting on the Turret Stairs'; Daniel Maclise A Scene from 'Undine'; The Little Mermaid, illustrations  by Edmund Dulac; MY DELIGHT By Gerard Dillon; The Madonna of Chancellor Rolin by Jan van Eyck 1435; Babie Lato by Józef Marian Chełmoński: Francis Joseph O'Meara - Autumnal Sorrows, 1878; Paul Henry Ireland 1876-1958 The Fairy Thorn; Roderic O'Conor (1860-1940) – COASTAL SCENE, EVENING or TURBULENT SEA , BRITTANY, c.1898-1899; “Economic Pressure” le Seán Keating, 1923.; Goose Girls 1885 by Sir John Lavery;  “The Goose Girl”1922, painting by William John Leech.


Algorithm after Artist after Artists


AI Generative art.

Program: Google DeepDream*

Time spent creating: 30sec

Year: 2022

Conversation in Viridian
oil painting
size 160x20 cm





oil painting and collage on canvas

year: 2016

Owned by a private collector. Brussel


JanKossen Contemporary Gallery, New York



Oil painting 160 x110

Owned by a private collector. Italy


LYNX 2016 2nd Edition, in Trieste, Italy


or Paramythia

Year: 2017

Oil, ink and collage on canvas, size 100x180cm

An exhibition honouring the hundred-year anniversary of the death of Cyprus epic poet, Vasilis Michaelides

Curator: Dr Nadia Anexegorou

Limassol Municipal Art Gallery


digital. animated image. NFT

year: 2022

platform Makers Place


dig(id)entities reimagined, NFT exhibition, Gallery NO Concept, Belgrade

vassos ajusting colors 1.jpg

Kokino Kiklo 
Oil on canvas. 150x110cm

Owned by a private collector. Italy

Kokino Kiklo II

Residual Heroines

Size: 80x60cm. wooden board.

Pigment inks, oil, acrylic, colour pencils, collage on paper and wood

Year: 2021


"1821: Collective memories" Limassol Municipal Arts Center- Apothikes Papadaki

Curated by  Mariza Bargilly and Dr Nadia Anexegorou 

Owned by The Municipal Gallery Limassol

Kokino Kiklo III

Digital processing.

Image Animation.



platform: MakersPlace


dig(id)entities reimagined, NFT exhibition, Gallery NO Concept, Belgrade


Kokino Kiklo or Residual Heroines

Humanity is a narrative of epochs. This residual discourse trickles down from one generation to the next, echoing the past within the present in partial forms, which we perform as contemporary metanarratives through lived experience. To varying degrees, this is how we understand ourselves and others. ‘Residual Heroines’ emphasises this dialogue of fractured totality and its survival through a series of uncanny reflections that are held together within a tapestry of mutable forms on the cusp of evolution. The central figure residing over these complex states of articulating the irresolute tensions of this archaic praxis as a negotiation of traditions, traumas, identity, belonging, displacement, and change in a way that blurs the boundaries between beauty and disturbance, pleasure and pain. She is synonymous with the inquisitions of contemporary culture and a raconteur who is working through the narratives that often left her quarantined. Text: Dr Frosoulla Kofterou

for Residual Heroines

Inspiration and References:

Portrait of Lieutenant General Manto Mavrogenous, the heroine of the Greek War of Independence in 1821, Lithography by Adam Friedel (1827); Milja Marin Partisan of People's Liberation Army of Yugoslavia during World War II; painting “The sortie of Messologhi” by Theodore Vryzakis (1853); painting “Le Massacre de Chio”s by Eugène Delacroix (1824); Portrait of “Laskarina Bouboulina” by Anonymous; painting “Souliotisses” by Georgios Miniatis; painting “Anchored Boats” by Konstantinos Volanakis (1895) Photos of missing persons following 1974 war in Cyprus; Oxi Day 28. October 1940 of Greek Resistance during the Axis occupation; The Annan Plan, also known as the Cyprus reunification plan, a United Nations proposal to resolve the Cyprus dispute 2004; Traditional Cyprus folk costume; Türkmen folk costumes from Merkez Kapıkaya, Turkey; the Victorian lady in lace collar and cuffs and puffed-sleeve dress; Armenian traditional costume; Serbian traditional costume; Venetian bridge Tzelefos Bridge (γεφύρι του Τζιελεφού), Paphos forest Varvaro's River (Barbarian); Kosovo Maiden Uroš Predić, 1919; Greek mythological creature Cerberus (Κέρβερος), a multiheaded dog often referred to as the hound of Hades, that guards the gates of the Underworld to prevent the dead from leaving; Athens, City of Gods; Pandemic 2021; Sandro Botticelli - The Birth of Venus (1486);

Take All of Me in BLue NH NS 2021 x.jpg
Take All of Me in blue, NH II
Exhibition: Our DNA curated show Kehler Liddell Gallery, New Haven, Connecticut, United States
see more works NH here:

“Take All Of Me” 2014

Oil on canvas, Diptych 120x180 cm ( In two parts, each 90x120 cm)



2014  "Lumière de Paix", UN Palais des Nations, Geneva,  Switzerland
2016 The Modern Portrait, JanKossen Contemporary Gallery, New York


Owned by a private collector. Brussels, Belgium

Vibrant, honest and holistic; Ms Nina's image is a sang froid homage to the polymorphic and wonderful diversity of our species. The richly disparate collection of cultural and body fragments into a dynamic whole is a fascinating act of reverence for our superb distinctiveness on every level; as if to say “All so different yet all so gracefully the same."

“In the Garden of Eden” is a heartfelt request to be accepted in our glorious complexity, to be loved in our quilt-patched nature; a nature that is sewn from the criss-cross stitches of history, culture, environment, power, circumstance, age and genetics. The challenge is understanding how our deep longing for total acceptance translates into a readiness to offer a total embrace.

Strife can thus be seen as a failure to comprehend the universality within the unique; harmony, ergo, is the appreciation of our differences as reminders of our similarities. The woman and man via their flirt express an urge to 'unification' which can only genuinely occur if there is authentic acceptance.

Gerald Marks song sings “Your goodbye Left me with eyes that cry” and infers, I cannot exist only within what is approved; “so please... take all of me”. Costa Constantinides, MSc Counseling Psychology  & BA political science

smHE +2).jpg
bottom of page