CM: In preferring to communicate with people by painting, Marie-Thérèse Marrel has created many portraits of her friends. On one of her regular visits to Thessaloniki, Greece, Marrel created the Portrait of Painter Nikos Kryonidis. Marrel was very fond of Nikos and his work. She also liked the way he spoke about art, particularly his ideas about cave painting - that "the level of cave painting is yet to be reached today". Her portrait of Kryonidis was made with pastels, which is Marrel's favourite medium for being soft, while emitting the feel of oils. She is fascinated by the effect of pastel, appearing to be at once drawing and painting. Marrel learned to use pastels like oils after studying the art of Nicolas de Largillierre (1656-1746) at the Louvre. De Largillierre's pastel works are amongst those masterpieces of world heritage that have lasted because they embody great forces of life. Inspired from De Largillierre, Marrel perceives of art as a process of 'becoming', always in a state of mystery. She feels that creation always happens in the space between moments of life and death. To make art is to take a risk, like life itself. During the process of artistic creation Marrel feels in a formidable state of exhilaration. Though the idea of Kryonidis' portrait is obvious to those who know him, the rendering is unique to Marrel's insight of the sitter's character. She achieved his likeness, while sticking to the imagination of a creative child. Kryonidis' portrait is made with strokes of positive and life-giving colors. The underlying structure of the face of Kryonidis reveals Marrel's strong sense of design, which is the result of mastery over both drawing and painting.