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Nick Dachris

is a designer. Graphic designer. He makes graphic designs.
He is also an illustrator. More so than a graphic designer. He makes illustrations.
He works as an art director to earn his living. Mostly directing himself and occasionally others, towards successful art in successful markets.
And he is an academic, too. He teaches applied arts, visual communication and information design in certain education establishments. Mostly teaching himself and occasionally others, towards successful art in successful markets.

Arenít you impressed, already?

Born in Athens, Greece, and raised by Greek parents, in Greek habits, with Greek education etc., he finds it hard to cope with most common things.

He physically lives with his crawling friends in the Cockroach Studio, and avoids watching TV and supporting football teams and political parties, unless he gets paid not to act so. He thinks the challenge of being what he is in a place like Greece is worth drying up his lifespan and his talent.

Following a vow unto a friend who got killed, he studied Art and Design in the U.K. for five years. And learnt that in advanced cultures, to be original is to be very precious, and creativity is too highly valued to be suppressed and wasted on wank-abouts.

That was a bit of non-Greek education and habits there, that screwed up his mentality.

Following the same vow, he returned to Greece to indulge the mis-behaviour of the mis-advanced culture of modern Greece, where to be original means to be secluded from the mob, driven to paranoia and impoverished in local wank-abouts.

Nick Dachris sees the Greek design-market as a glorious facade of ignorance and impotence of the self-un-aware, with its miserable ever-failing strife to imitate the American fallacy, though completely lacking even the basic skills to communicate its puerile needs. As such, he concludes, Greeks donít use design to improve things, but to show off their snatched wealth and puerile superiority to the occasional neighbour/competitor, therefore they donít waste money on original things (that take a lot of marketing and risk to be acknowledged as worth showing off of), and trust only established/traditional/riskfree solutions that rarely meet to the occasion and ruin everyone elseís day. In example of the situation, major impacts like the Benetton-Toscani effect or De-construction and David Carson along with anything related to his work (like Nine Inch Nails) are considered as abominable and admonishable in Greece, as it has been with the Sexual Revolution, the Punk movement and, lately, the Digital Revolution. The Saachi sponsored thing at the Royal Academy of Arts in London is more than taboo, itís unreal; and nevermind the film and drama studies of the contemporary Western World. Temporary alien culture thingies that come to pass quickly, not worth even their piracy-copy value... On the other hand, we can erase all traces of earth and foliage and natural landscape under tons of cementwork that will be there for ages to piss off whoever we want to impress and their children and grandchildren, with grandiose architecture that suits the accident of a plan that follows the plan of an accident that is somehow legal to register as a city plan, cover it up with the worst possible graphic design emanating messages like ďI HAVE THE BIGGEST DICK AND YOU HAVE NO BRAINS OR RIGHTS TO OBJECTIONĒ. Sequencially, the Greek design-market is not a very successful one.

Under this bit of illumination into his handicap of a genious, Nick allows his interests in the global design movements sink into a tiny seed of an idea. Greece has always been absorbing and reforming influences from more advanced cultures. Those notions and movements that were the most terrific, significant, ground-breaking and interfering with the interests of the top-ranks members of its society, have been cunningly assimilated, their flame silently extinguished in the pond of its cancerous patriotic and overly egomaniac self-centered ambitions, that paralyzes the natural evolution of any free nationís otherwise ďhealthyĒ civilisation. The idea is to devise (or help devise) a sort of novel international notion that is Greek-born and hence cannot be assimilated or extinguished by the Greeks. A similar thing in design to what happenned in music with Vangelis (Papathanasiou) and Aphroditeís Child a few decades ago. Nickís research, experiments and cost of living are funded, editted and distributed by his own novice of a limited company featured elsewhere in this site.

Nick has immense analytical skills. Blinkers and brainwash donít sit well with his resolution. He can get through most case studies and come up with original concepts and designs guaranteed to hit their target one hundred per cent, in a length of time far below the average, and maintain it until overthrown by himself with a new concept. He is also well trained in leading designer teams to the highest of their potential in most cultural contexts.

He loves his job, every-day challenges, provocative art, fair competition, friendly people, and seeing things completed.

He hates mediocrity, forgery, low salaries, un-educated specialists, conservative formalities, and chronic incompleteness.

Greece to him is a very frustrating environment of annoying weather, ever-prospering bureaucracy, heavyweight chauvinism, miserable riligiousness, militaristic phallocracy and outrageous politics, where he comes through as an arrogant self-rejecting maniac, that canít possibly be reliable in any sort of money-involving business, as the stereotype goes for people who donít wear ties. So, as his birth-place, Greece is the juiciest of challenges and core of his stubbornness: Paradise incarnate.

His favourite professional experiences have been Sci-Fi conceptualisation projects like the jacket illustrations for the first official Frank Herbertís Dune series in Greek and the sleeve design for the Peter Hamiltonís Nightís Dawn Trilogy one, that have been a sort of comic relief, awarded excessively low fees, and with the terrible devices of amateurs to surround and depress the work. Apparently, like graphic design, neither science nor fiction are taken seriously in his whereabouts. He is however a regular contributor to the Athenean Sci-Fi Club (ALEF) magazine, Fantastic Chronicles.

Nickís cover design for a nu-Metal bandís CD made it to the 2003 annual catalogue of Greek Graphic Design and Illustration Awards. (ROT: Provocativ can be viewed at Nickís portfolio)

And his name did show up in a corner in the Art news of the Greek newspapers when his taboo-shaking ďDark MeditationĒ exhibition got violently taken down from the walls of ďClub OddĒ in Athens, by the local remnants of the Spanish Inquisition (the Dark Meditation can be viewed at the Art Gallery).

Starcry is Nickís tension reliever. The voice of exasperation that is being built up by every failing, rejection or vandalisation of basic ego manifestations, transformed into romance and rhythmical noise. None of it is actually real. None of it is really fake. It would be called a hobby but it isnít. Itís the art and creativity that overflows Nickís life and is too much to be fitted into his daily work. Itís raw and primordial, and itís growing up into a thing of its own. Nick sees it as hardcore darkwave, and insists that itís a suppressed artform that, given the right conditions, will one day break loose and contaminate the whole world.

Right.

As this update is being editted, Nick is majorly involved in the artwork of the international new release of a board-game titled Quest for the Dragonlords, coming out of Canada around the end of 2005. He is also involved in publishing some of the Greek medical press and a limited edition subcultural fanzine.

Highlights of Nickís recent work are available to view in the Portfolio section. Donít bother him with comments and opinions unless you are a psychiatrist, a top model, or have a job offer for him.

Thank you for reading.

 
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