Annie Riga (b. 1997) is a Greek artist living and working between Athens and London. Her practice is grounded in feminist and posthumanist thought and engages questions of embodiment, permeability, and the politics surrounding bodies that strain or refuse containment. She approaches material instability as a site where inherited ideals of purity, coherence, and autonomy can be challenged and reconfigured.

Working across painting, ceramics, textiles, and installation, she examines how forms negotiate pressure and inhabit precarity. Leakiness becomes a generative strategy. Although it has historically been used to stigmatize feminized and nonnormative bodies, here it transforms into a mode of resistance and proposes porosity as a relational and ethical condition. Her work navigates the tension between holding together and letting go, and between structural desire and inevitable rupture.

Material behaviour sits at the core of this inquiry. Canvas slumps, pigments seep, and clay fissures, forming hybrid anatomies that behave less like images and more like membranes responding to force. Treating materials as responsive bodies rather than neutral substrates, she invites them to articulate pressures that resist mastery. Meaning emerges in what slips beyond the edges of control.

Many works begin on the floor with unstretched canvas, where pigments diffuse into tentacular formations. These surfaces are cut, soaked, folded, or stitched so they operate like provisional skins. They collapse, pool, or tether themselves to ceramic forms that act as porous anchors or prosthetic extensions. Suspended from steel scaffolds, bamboo rods, or handmade supports, the installations occupy a state of precarity in which painting, sculpture, textile, and body continually blur. Pigment drifting into folds or onto the wall asserts instability as a structural condition rather than an error.

Raised beside the Aegean Sea, her sensibility is shaped by early encounters with marine organisms whose movements such as pulsing, drifting, stinging, and regenerating influence her understanding of bodies in shifting relation to their environment. Instead of depicting these creatures, she translates their behaviours into gestures that carry vulnerability, resilience, and refusal.

Each work becomes an event rather than a resolved object and takes shape through proximity, pressure, and response. Stains, folds, fractures, and slippages function not as flaws but as residues of becoming. Through this material choreography, she asks what becomes possible when forms relinquish coherence and instability itself becomes a mode of knowing.