Feverdream, 2026
Solo exhibition
Art Studio SSG, Athens GR
Feverdream (2026) is a solo exhibition at SSG Art Studio.
Porosity is the condition the exhibition thinks through. Ceramic hooks and horns hold painted fabric just enough to let it fall. Vessels erupt with anemone-like growths, glazes crust like secretion, a figure rises spiked from gravel. These are not representations of organic life but materials behaving organically, accreting, rupturing, refusing to resolve.
Drape and weight are not formal choices but arguments: that surfaces give, that boundaries leak, that form emerges through contingency rather than intention. Nothing here is fully contained, and that is precisely the point.
Dates: February 26th - March 14, 2026
Photography: Vasso Paraschi
Fetish of Innocence, 2026
Group Exhibition, Red Carpet Project Space
Fetish of Innocence brought together works by Liliane Lijn, Konstantinos Argyrologlou and myself in an exhibition curated by Kimona Venieri Vasilaki at The Red Carpet Project Space, Athens. The exhibition approached childhood not as a site of nostalgia or purity, but as something shaped by memory, trauma, the body, loss and time.
For this exhibition, I presented ceramic sculptures that move between softness and defence. In works such as Become the Thorn, clay’s initial malleability is transformed into hardened, sharp, protective structures, drawing on organisms such as sea urchins whose forms respond to vulnerability through defence. I am interested in how protection and trauma can exist within the same surface: how something can shield and wound at once, and how hardened forms can still carry the memory of softness.
Dates: April 29-May 29 2026
Photography: Athina Vasiloglou
What The Skin Won’t Hold, 2025
Group exhibition, Fashioning Frequencies, London College of Fashion
Stoneware clay, Acrylics and sprays on canvas
The work interrogates ,materiality, surface and transformation, where the body and paint coalesce in a state of flux. Engaging with ‘leakiness’ as both process and metaphor, my practice disrupts fixed boundaries, allowing skin, pigment, and texture to bleed into one another. Handles, usually markers of control, become ambitious gestures, anchoring touch while inviting dissolution. The concept of collapse, whether physical, conceptual or temporal, introduces a dynamic instability, resisting stasis, My work embraces erosion, absorption and impermanence, embodying a world where structure is never absolute, but always in motion, responding to touch time and the traces left behind. What The Skin Won’t Hold, taking the form of a vitrine takeover at the new building of London College of Fashion, presents a body-like form held within a glass cube, yet never fully contained by it, as it gathers, folds and looms against the surface, appearing on the verge of leaking out.
Dates: April 25 - June 21
Photography: Mitsi Moulton
Trace & Spill, 2025
Group exhibition, Ksenoi, Atopos CVC, AthensGR
Trace & Spill considers painting as a contaminated and dependent field. Suspended from a stainless steel structure, the painted canvas is interrupted by chains and fluorescent fabric, materials that recall scaffolding, construction, manufacture, and restraint. These external objects do not simply support the work; they enter into its logic, pulling, binding, and reconfiguring the surface.
The canvas itself remains soft, stained, and atmospheric, suggesting a dreamlike bodily space without stable edges or fixed structure. Against this, the industrial materials impose pressure and tension. The work stages a collision between softness and hardness, containment and release, painted flesh and manufactured support. In doing so, it asks what new possibilities emerge when painting gives up the fantasy of autonomy and allows itself to be held, contaminated, and transformed by what surrounds it.
Dates: September 25 - 28 2025
My Guts Got Tangled In Your Net, 2024
Installation view at Banff Centre for Arts and Creativity
My Guts Got Tangled in Your Net approaches painting as a porous and dependent body. Two painted lengths of fabric are suspended from ceramic protrusions at chest and torso height, falling without the discipline of a stretcher or frame. Gravity, rather than being resisted, becomes part of the work’s structure.
The ceramic forms hover between handle, joint, bone, and coral. They hold the fabric while also interrupting it, exposing support as something tactile, bodily, and unstable. As pigment extends from canvas onto wall, the work refuses the idea of painting as a contained surface, instead becoming a site of attachment, seepage, and exchange.
Dates: August 2024
Photography: Rita Taylor
The Quest For Tactility, 2023
Group exhibition, Kourd Gallery, Athens GR
Curated by Katerina Nikolaou
Dates: April 4 - May 25 2023
The Quest for Tactility was a group exhibition at Kourd Gallery, Athens, with works by Valia Kapeletzi, Silvana Mc Nulty, Mariandie and myself. The exhibition brought together weaving, painting and sculpture through a shared interest in tactility, craftsmanship and material structure.
For this exhibition, I presented Mutations, a suspended painting made with acrylic, thread and cut canvas. Hung from a branch, the work is divided and stitched together, allowing gravity, gaps and shadows to enter the composition. Rather than treating painting as a sealed image, Mutations approaches the canvas as a body or skin: cut, repaired, loosened and held in tension.
Big Blue Dot, 2022
Big Blue Dot was a ten-day artists’ residency and public exhibition in Ano Koufonisi, curated by Nikos Yfantis and organised by Sealed Earth Ceramic Art Studio and Gallery. The project responded to the cultural heritage of the Small Cyclades and the archaeological histories of Keros and Daskalio, bringing together twelve artists working with ceramics, sculpture and public installation.
For my works Elemental Encounters and A Fragment of I drew from the cave-like formations across the island and from the way water gradually moulds, erodes and reshapes the land. I was interested in the island as a body in continuous formation, shaped through contact between sea, rock, wind and time. Through clay, these observations became ceramic fragments that sit between vessel, geological trace and offering.
Presented outdoors as part of a public route across Ano Koufonisi, the works remained exposed to the same conditions that informed them: weather, salt air, light and human contact.
Dates: The exhibition ran throughout the summer season of 2022
Photography: George Pappas
