I am a Fine Art graduate of De Montfort University, Leicester and I hold a Masters degree from Central Saint Martins College of Art & Design, London, UK. I have obtained scholarships from the Greek State Scholarships Foundation and Vardinoyannis Foundation and was awarded with the The Paget & Clephan Prize. I have taught engraving at the department of Plastic Arts and Art Sciences at the University of Ioannina. I have participated in various exhibitions in Greece and abroad.
I live and work at Heraklion, Crete.
2012 Intimate landscapes, Elika Gallery, Athens
2009 Wallpapers, TinT Gallery, Project Room, Thessaloniki
2018 Caritas Romana, Thessaloniki International Film Festival
2018 A mirror to reflect myself upon, taf Gallery, Athens
2017 Landscape Revisited, Elika Gallery, Athens
2017 Retrospective, Action Field Kodra, Thessaloniki
2017 Monitor Festival, Cultural Center, Heraklion
2017 Noble Gestures, artAmari Residency, Rethymon
2016 Monitor Festival, Cultural Center, Heraklion
2014 uP, metamatic:taf Gallery, Athens
2013 Afresh A new Generation of Greek Artists, EMST National Museum of Contemporary Art, Athens
2013 Synthesis, Francoise Heitsch Gallery, Munich
2013 Deja vecu, Anamesa Gallery, Athens
2013 Art Athina, Elika Gallery, Athens
2013 Out of paper, Tint Gallery, Thessaloniki
2011 Οcc One, Gallery 50-1, Limassol
2011 Οcc One, TinΤ Gallery, Thessaloniki
2011 Limit, St. Mark's Basilica,Heraklion
2010 Silence,St. Mark's Basilica, Heraklion
2010 Recollection10, TinΤ Gallery, Thessaloniki
2009 Action Field Kodra, Thessaloniki
2009 Greek Printmaking an Overview, 2nd Thessaloniki Biennale of Contemporary Art, Thessaloniki
2009 Anthropopanida, St. Mark's Basilica, Heraklion
2009 I create, therefore I am, Center of Contemporary Art, Thessaloniki
2008 Greek Printmaking an Overview, Technopolis, Athens
2008 (Wo + Man =?) 2 , Athens
2003 Central Saint Martins Degree Show, London
2003 Touch And Go, Space 44, London
2003 Mutiny, OXO Tower, London
2002 Fresh Art Fair, London
2002 De Montfort University Degree Show, Leicester
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.
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.
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.
In my cut-out based work, I take inspiration from nature and use photos, I have taken. I replace the drawing with a peculiar process of taking away material from paper. The final image is crafted out of layers of semi-transparent paper placed on top of each other.
I digitally manipulate my photo and transform the image into five tonal levels or more. I trace each tonal level in a different tissue paper and start cutting and removing the excess tone.
Finally, I place all the tissue papers on top of a black cardboard and glue them carefully.
My final step is to cover the image with a tissue paper.