PROJECTS
Summary & descriptionsResilience:
as a makeshift herbarium or
e.g. how to teach a pine tree
Photographhy & Video project In collaboration with
Lia Nalbantidou
2021 - ++
The research for the project was funded by the Greek Ministry of Culture and Sports, 2020.
Description
The lockdown of spring 2020, an unprecedented experience for most of us, set a new modus vivendi and brought to the surface thoughts and feelings related to social exclusion, the phenomenon that deprives individuals or groups of a "normal" social and working life, as they deviate from what public opinion defines as "normal - acceptable".
The restrictions (e.g. on movement, social interaction) that arose in the face of the pandemic of the coronavirus pandemic, brought to the surface, among other things, the importance of face-to-face interaction, the possibility or lack of access to work, etc.
Work, apart from providing an income, serves other needs, as stated by the European Commission (1993). It gives meaning to individual fulfilment, enhances dignity, enriches social contacts, stimulates social and personal recognition and forms the basis for the organisation of the daily or weekly (Commission of the European Communities, 1993, p. 21).
Social exclusion, as stated in the text K. Thanasi (2016), 'relates to the social pathology of phenomena such as marginalisation, isolation, deviant behaviour, poverty, social exclusion and stigma'.
The restrictions (e.g. on movement, social interaction) that arose in the face of the pandemic of the coronavirus pandemic, brought to the surface, among other things, the importance of face-to-face interaction, the possibility or lack of access to work, etc.
Work, apart from providing an income, serves other needs, as stated by the European Commission (1993). It gives meaning to individual fulfilment, enhances dignity, enriches social contacts, stimulates social and personal recognition and forms the basis for the organisation of the daily or weekly (Commission of the European Communities, 1993, p. 21).
Social exclusion, as stated in the text K. Thanasi (2016), 'relates to the social pathology of phenomena such as marginalisation, isolation, deviant behaviour, poverty, social exclusion and stigma'.
Losing Turquoise
Photography Project2018 - 2021
Description
Losing Turquoise project consists of 7 Chapters:
The fearless gem, Phosphate of Cu & Al, Healer, Protector, Legend, Rational prayer, Improvisational algorithm.
The mineral is a hydrated phosphate of copper and aluminium.
The Turquoise gemstone is said to be assigned to Saturday (Saturn’s Day).
In the Old World it was said to possess many virtues and for 6.000 years it was considered “the fearless stone”. Anselmus de Boodt (Flemish humanist, mineralogist, physician and naturalist, 1550-1632) supported its use for protection against injuries. Southwestern Native Americans believed that turquoise could protect the wearer from harm, relieve her from worry and bring happiness. A Navajo belief is that the heart of the earth is made of turquoise.
Losing Turquoise is a domain where geology, chemistry, mythology, ethnology, history, talismanism meet. The idea of the gemstone addresses the entanglement and/or division between science and superstition, whose, most of the times, ideological and community bubbles do not even confront each other.
The human body represents the living container, where the tension between these contradictory approaches, meet and get somatised. Through my geologic-scientific training, I employ and perform a methodology to access visual and symbolic associations with the aim to reflect mainly on the physical and emotional effects this division creates.
Shall we turn to the talismanism or spiritualism?
How will the apparent/highly visible schism of the individual and the collective be experienced?
Can someone blindly trust science?
The fearless gem, Phosphate of Cu & Al, Healer, Protector, Legend, Rational prayer, Improvisational algorithm.
The mineral is a hydrated phosphate of copper and aluminium.
The Turquoise gemstone is said to be assigned to Saturday (Saturn’s Day).
In the Old World it was said to possess many virtues and for 6.000 years it was considered “the fearless stone”. Anselmus de Boodt (Flemish humanist, mineralogist, physician and naturalist, 1550-1632) supported its use for protection against injuries. Southwestern Native Americans believed that turquoise could protect the wearer from harm, relieve her from worry and bring happiness. A Navajo belief is that the heart of the earth is made of turquoise.
Losing Turquoise is a domain where geology, chemistry, mythology, ethnology, history, talismanism meet. The idea of the gemstone addresses the entanglement and/or division between science and superstition, whose, most of the times, ideological and community bubbles do not even confront each other.
The human body represents the living container, where the tension between these contradictory approaches, meet and get somatised. Through my geologic-scientific training, I employ and perform a methodology to access visual and symbolic associations with the aim to reflect mainly on the physical and emotional effects this division creates.
Shall we turn to the talismanism or spiritualism?
How will the apparent/highly visible schism of the individual and the collective be experienced?
Can someone blindly trust science?
‘Untitled Explorations’
online AIR
‘Art Instead’
@Phoenix Athens Gallery
Cyanotypes &
Tri-colour gum bichromate prints
2020
Description
Taking the experience of the pandemic as my starting point, the following questions were addressed:
“What is normality after all? Why do we wish to return to what we considered normal & not seek something new after this collective experience of death?”
The ensuing research found application in printing methods that deviate from what is defined as a “normal” method of printing photographs. These techniques are often called as “alternative photographic processes”.
Desiring to incorporate the idea of uncertainty into my work, I experimented with these techniques for the first time. I had some successes and as many failures and in doing so I wanted to suggest the search for a new, “alternative” normality.
“What is normality after all? Why do we wish to return to what we considered normal & not seek something new after this collective experience of death?”
The ensuing research found application in printing methods that deviate from what is defined as a “normal” method of printing photographs. These techniques are often called as “alternative photographic processes”.
Desiring to incorporate the idea of uncertainty into my work, I experimented with these techniques for the first time. I had some successes and as many failures and in doing so I wanted to suggest the search for a new, “alternative” normality.
Inertia
Photography project
Photography project
2017 - 2018
Description
According to Newton’s First Law, an object at rest stays at rest and an object in motion stays in motion with the same speed and in the same direction unless acted upon by an unbalanced force.
The experience of limbo due to any “sudden incident” in the course of one’s life, is the pivotal stone where my image narrative is based. Anything can change within a fraction of a second, and this work reflects an attempt to interpret and accept the loss and “constant-change” phases.
The world that I create and photograph is based on everyday life, but the accompaniment of a cinematic aesthetics, aims to give a fictional twist and a sensation where still nothing is real nor surreal. Those images become metaphors to another reality. Characters represent archetypal figures, being “indecipherable” while confronting an internal collision. They are somewhere in-between, struggling to reach “light” again.
Text edited by Lia Nalbantidou
The experience of limbo due to any “sudden incident” in the course of one’s life, is the pivotal stone where my image narrative is based. Anything can change within a fraction of a second, and this work reflects an attempt to interpret and accept the loss and “constant-change” phases.
The world that I create and photograph is based on everyday life, but the accompaniment of a cinematic aesthetics, aims to give a fictional twist and a sensation where still nothing is real nor surreal. Those images become metaphors to another reality. Characters represent archetypal figures, being “indecipherable” while confronting an internal collision. They are somewhere in-between, struggling to reach “light” again.
Text edited by Lia Nalbantidou
