In Lefteris Economou’s long career, nature was his greatest teacher in the effort to translate his subjects using artistic terms; it helped him to solve problems and proceed in establishing his own personal style. As he was inclined to say, it was not that he copied nature, but simply that nature offered him visual stimuli. By recreating it, Economou celebrated it, while at the same time seeking to express and share his feelings and worries. An enduring concern of his was how to render the distinctiveness of Cypriot nature through an artistic idiom. His position that art must be governed by a spirit of place was something he often stressed in the interviews he would give to the press from time to time.

Nisou constitutes one of his most archetypal efforts to transubstantiate artistically what he saw as the distinctive attributes of Cypriot natural space. It is for this reason that light and colour were elevated to constant principles in his painting. By releasing colours and forms from the faithful representation of reality, Economou recreated nature with equal formal and colour elements, which, blending with the light, define its content, structure and typical character.

Economou arrived at the style of this particular work after a trajectory that started with Cézanne and proceeded to van Gogh, Fauvism and Cubism. Using the solid, vivid and often unrealistic colours of the Fauves, like the Cubists he fragmented his subject, only in his case the geometrically schematised theme remains utterly recognisable. The colour surfaces become especially clear as they are contained within white outlines, which strictly organise the geometrical composition. By applying this technique, Economou succeeded in reining in his profuse emotions.