Big Manifesto
fabric, acrylic, ink, newspaper cuttings, glass paint on found wood
Classically trained, however, an active explorer of boundaries and limitations, my work is a reaction. Creating familiarity with the use of referential imagery my work aims to create anthropomorphic connections and raise questions on socio-political issues.
Using the canvas as a mean of captivity, and floating between figuration and abstraction, my work resembles a caricature of a sculptural object, which failed to escape its two dimensional surface. The use of thread is analogous to the ancient Greek myth of the three fates and each thread reference a human life; clusters of thread represent societies.
I, me, soul, ...and you? ...they live in my head...
fabric, acrylic, ink, pigment, thread on recycled canvas
In our post-modern society the phenomenon of multi-identities, such as national, social, social media, personal etc. is growing rapidly. After the Renaissance, where the man was at the centre of everything, our identity has been defined by our social environments. Nowadays these environments have been multiplied and its only in relation to each of them that our personal identities are created .
I, Me, Soul are pointless self portraits reflecting the need of belonging in these diverse social environments.
“Where you end…I begin”
fabric, threads, ink, pigments, canvas, found wood, nails
The question is always the same, when do we stop looking ourselves in others and really see them for what they are?
We project our expectations, our desires and fears, our own personal taboos and restrictions; we always strive to stand out yet mirror ourselves to all the ones we touch. Acceptance, first for who we are and then who are the others. Each one of us carrying the cross of our upbringing, indoctrinated to normalization, we judge as much as we are expected to be judged by all others. The self becomes secondary to the sense of belonging and who dares to challenge any boundaries becomes a crucified sinner.
Accept me for who I am for I’ll be the key to accept yourself.
Pointless Self-Portraits series 1-5
fabric, acrylic, ink, pigment, thread on recycled canvas
Feeling overwhelmed with the current political upheavals and social disorders around the world and with an underlining sense of helplessness to make a significant positive change or contribution, I decided to create a series of artworks, which express these momentary feelings at the point of creation.
The work is an abstract depiction of an array of characters (human and none), personifying thoughts and feelings, through which I am striving to connect and understand the current world.
Using a contrapuntal method of contrasting eye pleasing colours and distorted forms, my work has an element of an optical illusion, which I use to lure the viewer and communicate my feelings and frustrations.
Staring back series
fabric, acrylic, ink, pigment, thread on canvas
It is the feeling that someone saw you doing something you shouldn't, or perhaps you are taking too long...a stare spreads instantaneously through your nervous system and sets in motion the animalistic alarms in your head.
Usually my paintings mind their own business, trapped in their realm their concern is primarily how to break out of the frame and reach you, them everyone. But not this ones, these are for me. These ones ask...the ask the difficult questions. The questions a creator dares not to ask his work.
Where do I come from and where you intend me to go? and honestly I have no answer...
Ripped series 1-3
fabric, acrylic, ink, newspaper, glass paint, pigment, thread on recycled canvas
These works had been created during the outburst of the Greek economical saga and were inspired by the immediate and dramatic effect they had to the general public of the country. The elements composing the paintings are symbolic to failing economical system and the desolation it brought to the people. Whilst there works encompass the general idea of poverty and fiscal segregation, there are also reflecting my personal experience through my family’s and friend’s struggles ever since. Greece is one in many countries facing such issues and there are many ‘hidden chapters’ in this financial regression which need to be identified and linked to the global economical strategies and agendas.
Forget me not series 1-4
white thread, ashes on white paper
The white thread on white symbolises elements of our lives which are omnipresent and surround us but we either forget or ignore. Using portraits of children this work aims to highlight the lack of reflection of our actions and the effect they have to the future of the next generations. The remnants/ashes of civilizations, the thread of a course that wears and weakens in our memory, is reflected in this work.
Index series 01001-01011
toner ink on paper
Is distortion part of our reality or Is maybe our reality distorted? Where is the threshold between humanity and monstrosity?
Our idols, heroes, the ones we look up to, pillars of our society; but who has appointed them and what they teach us?
An image, the index of a personality or a persona. Iconic representation of our societies best reflection.
Misspelled society
digital painting, c print on aluminium
A play with with word is a good start... propaganda is fundamentally based on the right wording. Who is a master of words rules society. So what happens when spelling mistakes reveal the true nature of that society?
Dot series 1-11
fabric, acrylic, ink, newspaper cuttings, glass paint on found wood
Observations, stories and testimonies; personal experiences and global news fuel my work, as I am interested in examining the dynamics that form social relationships, current political and economical affairs and shape our environmental consciousness. My work documents the findings of this examination and aims to construct a platform for discussion and stimulate reflection on current socio-political issues.
Invisible...but omnipresent
white thread on canvas
Deptford possesses an extensive and controversial past, which shaped the history of London. From the reign of Henry VIII to the industrial revolution, the Deptford area has been a terrain for key events on London’s historical timeline.
In present times, few direct references are left in place reminiscing the historical wealth of the area, which are either reclaimed by nature or left decaying waiting for regeneration.
Looking into this expansive history and collecting the traces of it from the remaining archaeologies, memories and stories carried to the present, these works create a trail through the histories of Deptford.
The contemporary Deptford community has a diverse cultural background that dates back to the 1500. However, from the early 2000, foreign estate investments have started re-shaping the area, in cases overlooking the importance of certain heritage sites and allowing them to perish.
The history of the place has been partially glorified and partially suppressed and intentionally forgotten, in order to add value to the area.
My project here was to create a history trail through the local library, that created a platform to discuss that forgotten history through the collective memory of the local community, the relevance of that history and the relevance of the heritage of the area to their lives and identity and their position within the redevelopment of the area.
