My practice both materially and immaterially thinks through the instability of form; working across painting, ceramics, textiles and installation, I approach materials as responsive bodies whose forms emerge through pressure, gravity, contact and exposure. Canvas, pigment, clay and support structures act as means or vessels for understanding various physical and non-haptic morphologies. Inquiries arising from the unstable relation between bodies and their environments, related to the sea and the ways she affects, or she is affected by the things left in her -or concluding to lives occupying what resides in or surrounds waters- are in the centre of my practice.

My paintings begin on the floor with unstretched canvas, where diluted pigment spreads and settles into the fabric before the surface is cut, soaked, folded or stitched. These processes emphasize on the aforementioned questions; they touch on what’s peripheral, altered, fluid or even excluded. They, after, produce provisional skins that collapse, pool or lean into ceramic and structural supports formed through steel frames, chains, found wood and clay hold, amongst others/among other materials.

Raised near the Aegean, the body I came to know carries these exact contradictions, tensions and dependencies; it’s already permeable to its surroundings, worn and mutated by contact, friction or power impositions, before it could name itself otherwise. Marine organisms perform a complimentary aesthetic and conceptual value allowing for these oxymoronic identities to be looked at otherwise. Corals, anemones, barnacles and bryozoan communities build through attachment instead of hierarchical structures, do form and inform unorthodox kinships, longings, belongings and structures of support.

How can a natural element such as the water, that carries the connotations and semantics of freedom and fluctuation, also become a space that holds fracture, depletion, migration, militarisation? How can the geopolitics of a south land used and abused let us touch and be touched by the psychographies embedded in our gestures, movements, pleasures or fights? And how can that all be mouthed through visual works that a priori invoke a certain gaze, or impose a certain representation?

These questions shape the work’s attention to passage, containment and exposure, and to frameworks whose ability to carry and protect remains precarious due to its extraction, privatisation and appropriation. The subterranean, liquid or solid, fixed or mutant, textual or haptic is what lingers over the material and the PhD related research parts of my practice. The concealed becomes a methodology for thinking across these fragile yet prominent subjects that rule the lives of the suppressed, the othered, the subaltern. That which cannot be grasped, that which willfully leaks constantly, turns into a resilience mechanism for forming another way to look at, communicate with, encounter our surroundings. And through such a daily, quotidian practice, studies of feminist materialist thought, environmental discourses, or diasporic languages act not only as parables but as actual, auto-ethnographical and fleshy axes that inform the sculptures, the paintings, the texts. The visceral is present through the material’s porosity, the tension’s undoubtable when holdings are fragile, the hybrid intensifies when it all comes together intentionally saturated.