I recently had the honor to be featured in the Summer 2026 edition of Trollbreath magazine! I sat down with their Editor-in-Chief to discuss my digital painting of Peter Pan, titled 'Silent Night” and other topics. You can read the full interview below—I hope you enjoy it!"
Trollbreath: First of all, thank you so much for the wonderful cover! I was drawn to the piece for its almost tarot feel and unique take on a character, Peter Pan, in a pose and context removed from the original. It evokes a contemplative loneliness that feels absent of observation–a far cry from the swashbuckling extrovert character we know from literature and Disney. What about the story made you see this in Peter Pan?
Vassilios Bayiokos: Thank you, Jennifer. Yes, the piece, Peter Pan: Silent Night in Neverland, was intended to evoke exactly that. Naturally, we tend to think of the sanitized Disney version of Peter Pan, but at its core, J.M. Barrie's original book is more of a fantasyhorror. Peter Pan was dangerously forgetful, heartless, and manipulative–not to mention Tinker Bell, who was a sociopath, as all fairies are. The piece was meant to convey the utter loneliness with which both are imprisoned. I am so glad you felt that.
TB: What was your art journey like? Were you the kid caught sketching during lessons? Did you take a formal art education route?
VB: Yes, I was caught drawing in class way more times than I'd like. I kind of always thought I was being stealthy about it, but I now realize that I was never that smooth. As for my formal education, it really took root in high school; that was when my talent was truly recognized. As my skills grew, drawing became a kind of social currency, which was a nice thing to have. I eventually moved on to NYC Tech, studied at Birmingham Polytechnic in England as an exchange student, and finally attended Pratt Institute. Although my heart was always in illustration, I graduated with a focus on Art Direction in Advertising because that's where the job opportunities and the stability were at the time. It's been a crazy journey, and now here we are.
TB: Your love of film and comics shows up in many of your pieces, but I was also struck by the work inspired by your own life. What are some of your favorite universes to explore artistically?
VB: I have many favorites, but my go-to? Ancient Spartan Warriors. They represent a grounded, physical strength, and those dramatic compositions never miss. Placing them in different scenarios has also been fun. Plus, being a Greek kid from Flatbush, Brooklyn—let's just say I'm biased! Seriously, though, whenever I hit a creative wall, diving into that world gets my gears turning again. I hope that helps!
TB: I love to see lived experience turn to art. Can you tell a little about When Doves Cry on a Train?
VB: To be transparent, I used a hybrid AI-and-Photoshop process for that cover. It's the lead image for my blog post “When Doves Cry on a Train?” For my blog postings, I generally use AI imagery for expediency. To tell the story, Years ago, after enjoying a late-night punk rock show in the city, I caught a train back to my home in Brooklyn. Even though the car was unexpectedly crowded, the vibe was chill and laid-back. That changed when a heavy-set, clearly intoxicated older man boarded. He took a seat in the corner and began rhythmically banging against the train wall. Before long, it became clear he was mimicking a familiar drum beat. Suddenly, he burst into his own rendition of Prince's "When Doves Cry." The entire car erupted into laughter–not out of mockery, but pure joy. He wasn't a good singer, but he performed as if his life depended on it. Soon, we were all clapping and singing along. It was one of those shared, amazing moments that only happen in New York City, which is why it is the greatest place on earth. As for AI in the arts, it's here. It's not going away. It has a place. I'll leave it at that.
TB: You have varied styles and methods in your collection of work. I loved the way Godzilla King felt more of a graphic arts poster. How would you describe your style/s and what are some mediums or styles you have not yet attempted, but would like to?
VB: Thank you. The Godzilla King piece was a merger of illustration, fused with Japanese Graphic Design, peppered with Russian Constructivism. Kind of sounds like a drink a mixologist in Williamsburg, Brooklyn, would make, right? Ha ha. If I have to describe my style, I'll start by quoting the movie Art School Confidential: 'What would an artist want with a style?' My wife will get a kick out of me saying that! Ha ha! Seriously, I truly see myself as a Digital Creative. I'll use any medium or method at my disposal to bring an idea to life. For me, it's all about the result. As for styles that I have not tried yet? Nothing is coming to mind. Having said that, I look forward to revisiting analog work and techniques down the road. I've been in the digital space so long and deep that the other day, while sketching in my sketchbook, I actually tried to swipe instead of turning the page. Crazy!
TB: Tell us about some of your favorite projects (book covers, promotional, etc.).
VB: Tough question... I loved working with so many people and loved so many of the pieces I did for projects and self-promotion. The three standouts for me . . . The Unexplained–Featured on the History Channel and hosted by William Shatner. My work was showcased in several episodes focusing on ancient creatures, shaman mages, and aliens–an amazing experience to see my art on television. Serpentes & Serafins–Enéias Tavares' Serpentes & Serafins (Darkside Books). I did a dozen pieces for the interior of this book. I channeled the dark romanticism of Anne Rice and the symbolism of Tarot to create visuals that evoke the novel's profound themes. The Captor (Books 1 & 2)–I was commissioned to illustrate the cover of the horror novels, The Captor: Name Them, and the sequel, Secondary Pact. These books are written by the young and insanely talented DJ McDowell. This collaboration was great and seamless. I can go on, but we will be here all day, so I won't. Ha ha.
TB: Where can folks find you, online or in the wild?
VB: Well I can be found wandering the streets of NYC fighting crime and . . . umm.. oh.. I've said too much?
I can be found at: vass-creative.com vassiliosbayiokos.artstation.com Instagram: @vass_creative
Thank you for having me!
TB: Thank you so much for your time and for the opportunity to showcase your gorgeous work!
"Be so good that they can't ignore you." — Steve Martin