yinjispace

ARTIST
Theodore Psychoyos
PHOTOGRAPHY
Paris Brummer
WORDS
Hao Yue
EDITOR
Bingyi
Collection

Last October, we arrived in Athens. The entire city was immersed in soft, diffuse light, reflecting the marble-carved history of the city. As we wandered between the weathered stones of the Acropolis and the distinct geometric lines of the Athens rooftops, we entered the studio of artist and designer Theodore Psychoyos. This was not just a visit, but more like stepping into a sensory experience that is still growing and evolving, teaching us to reaffirm the equal relationship between nature and humans.

Theodore Psychoyos was born to Greek parents, both biologists, and grew up in France. He later obtained a law degree from Sorbonne University while concurrently studying sculpture at the National School of Fine Arts in Paris. His early legal studies did not diminish his pursuit of art; on the contrary, he was always curious about materials, particularly marble, with which he felt an innate affinity. This curiosity led him to choose marble as a subject of study, and even when stone was difficult to obtain in France, he persisted in exploring its differences and qualities.

Theodore's studio is located in an old warehouse in Athens, where he made minimal interventions during the renovation, cleverly preserving the original industrial feel. This approach has created a subtle connection between the space and his artistic creations, making the studio itself an integral part of his work. Here, Theodore shared with us his personal journey and creative path. He told us that in his twenties, he traveled to the Cyclades Islands with a German sculptor to begin studying marble carving. Facing the hard and heavy material, Theodore realized that the traditional approach of control could lead to a passive state. "When I was young, I wanted to master it, control it, but the stone was too powerful. Even my mentor was like a slave to the stone," he recalled. As a result, he gave up sculpture and became a painter, sustaining his art career through painting. Years later, a period of illness and recovery allowed him to re-evaluate marble—this time, he no longer sought to conquer it but instead embraced the imperfections of the material, enjoying the lines and beauty it naturally offered.

Since 2020, Theodore Psychoyos has focused his practice on functional art and architecture. In 2021, he founded his Paris studio, dedicated to up-cycling materials and exploring marble—from crystallization, weight, and durability to extraction processes and natural weathering. In his creations, he minimizes mechanical intervention, preserving the most primal tactile and perceptual experience. He calls this approach “gravity art.”

In a corner of the studio, we saw a pile of scattered stones. Theodore slowly walked over and began handling them, telling us that these were pieces he had gradually collected over time. He often digs and carves into the stones aimlessly, allowing accidental shapes to emerge, then subtly balances these remnants, blending human intervention with the natural order. He explained to us, “Nature doesn’t intend to create balance, but humans, from the moment they are born, are aware of balance. This is also a theme I constantly explore in my work.”

We noticed an interesting wall lamp on the wall, and Theodore excitedly explained, "I usually don't define my work; it moves between function and non-function." Broken marble can become a wall lamp, delicately placed with a sense of "with a light touch," while remnants may evolve into a floor installation. He is deeply fascinated by the "unfinished" parts, rough traces, and accidental cracks. In his furniture creations, he similarly emphasizes balance: adjusting thickness, angles, and weight distribution to interact with the space in a more personalized way. He also uses techniques like joinery or lightweight metals to secure the pieces.

In Theodore's philosophy, creation is a form of "art of minimalist subtraction," as he puts it: "Turn down the volume." In an era where visual impact and complexity are increasingly amplified, he chooses to minimize both the impact and expressiveness of his work, leaving only a subtle sound. This, he says, is the ideal state he seeks to achieve.

The space of Theodore Psychoyos retains traces of nature and history: cracks in the roof let light filter through, and sunlight and dust fall between the wooden seams. We felt his studio, his work, and his creative process communicate the weight of materials and the sediment of time, while also embodying the subtle relationship between art and life, chance and order. As we left, we did not leave with answers, but with a sense of weight—a subtle gravity, as though a stone had been gently warmed by the sun.

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