She comes from
Nicosia
but she has been living in
Larnaca since 1973. She
studied Fine Art in
London at Ealing
Technical
College and School of Art and at the
Central School of Art and
Design obtaining a B.A.
degree in Painting. She has
also a Diploma in Art
Education from the London
Institute of Education of
the
University of
London. Her teaching career started
at Secondary Schools in 1971
and worked as a School
Principal for seven years
until 2007.
She has had eight personal
exhibitions and participated
in numerous group
exhibitions in
Cyprus
and abroad, in
Athens, London,
Belgrade, former Eastern Germany and
Kuwait where she represented
Cyprus. She has
also offered her work for
beneficiary purposes such as
the Radio Marathons, the
foundation for people with
aids etc. Her work is found
in private and public
collections, such as the
Ministry of Education and
Culture, the Ministry of
Labour and the Larnaca
Municipal collection. The
Larnaca Muncipal Authority
honoured her by presenting
her personal work as part of
its cultural events in
November 1994. She has
designed the monument for
the fallen pupils of
Saint George’s Lyceum, which was
unveiled on the 8th
May 2001, by Mr. Ouranios
Ioannides, the Minister of
Education at the time.
Her work has been
appreciated since she was a
student and was awarded a
prize for her etching by her
Royal Highness Queen
Elizabeth of England and the
silver nightingale in a
group exhibition in Platres
during the first years of
her artistic career. Pierre
Rouve, a lecturer of
Semiotics and critic of art
has referred to Androulla’s
work: “ Androulla liquefies
constituted forms and her
own truth is a Heraclitean
subversion of the stubborn
stability sported by all
natural patterns. In her
paintings stones stream and
figures flow like water, our
mother and blood, our master.
Rarefied pigments and
complex curves spell this
sensuous spell: Eros is
fencing with Thanatos. And
Eros is winning: colour,
always assuaged and never
strident, heralds this
victory. Linear contortions
which had threatened to turn
knots of vipers curl into
plaits of pliant passion.
Venus never turns Medusa.
But for all this constraint
the dissolution of fixed
forms remains predominant.
Only human faces survive
untouched, islands of
mimetic resistance surfacing
from the fluid flanks of the
soil. Western beholders may
be tempted to evoke Munch or
Klimt. Eastern Europeans
know better: they have grown
up with Byzantine Madonnas
whose faces are rocks of
spirituality – not passport
portraits but passwords to
eternity. “ (Pierre Rouve,
London 1981).