Throughout my practice I look for the "essence" in my intimate and natural environment. Ideas of escapism and nostalgia run throughout the works.

In my cut-out based work, the image is shaped through the disappearance of its material substance while through color detraction, the white that remains references a reality that has been eliminated, becoming one with the infinite. Through the whiteness, every trace of materiality is lost and exterior forcible values like power, wealth, beauty and social status are negated, allowing for the imposition of silence. According to Plato, only ideas encapsulate the true and essential nature of things. The essence exists in the Idea, not in materiality.

In a search for spirituality, the works commence an existential self-examination aiming towards the return to the meaningful. The use of transparency in the works reflects clarity as a challenge, as well as pursuit in the introspection process.

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My reference to nature symbolises the desire and longing to return to the essential. The immaterial landscape, similarly to the one portrayed in the Arcadian Landscape becomes a point of escape  and a means of catharsis. The persistent observation and enlargement of plant details leads to a process of introspection and inwardness, focusing on the beauty that is deeper, which we usually pass by and miss. 

In part of my work I employ lace as a symbol of familiarity, normality and safety. In a quest for essence I review and deconstruct those eternal values that lace references. I use the process of “distillation” of lace, which leaves it's substance on the embossed traces on white paper, signs of the enclosed sentiments and thoughts of those who knitted them. Lace escapes its connotations by destroying its form, thus negating its common purpose. 

By knitting the phrase from Goya's Caprichos "Can't anyone untie us?", I express the vain effort for liberation.

The white tissue paper curtains are made to install in public places and create a safe, homey environment, carrying the idea of hiding and protecting from the intruders. The curtains become fragile, and their function is once again canceled out.

The massive production of black and white photocopy wallpaper-lace is an installation that challenges the precious heritage made here from cheap photocopy paper aiming to imprison and engulf the viewer. The rope with knots made out of lace hanging from the ceiling functions as a vain attempt to escape from a repetitive, repressive environment.

​The paper boats refer to futile escapism since they compose a larger work of lacing. The wedding dress builds on that idea, portraying the battle for liberation from oppressive conventions of the past and a quest for substance. 

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Paper has been a fundamental material in my art work. It’s a pure, serene, fine, delicate material, which can carry my ideas. In addition, tissue paper because of it’s transparency shapes a foggy, hint atmosphere, that fades gently into the background. 

My work is fleeting, fragile, light, silent, pale. It creates a connection with our inner nature. It aims to become a pathway towards our purification, creating a hint atmosphere, a gap in time, a connection with eternity.

My artwork is a devotion to our Sacred Nature.

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