A Study on Media Cannibalism (2022) – single-channel video 4’40” - is part of the research project The Trauma of Looking: Readings and Counter-readings of the representation of femicides in the Greek mainstream media. It is a work that aims to decode the narrative strategies used by the Greek mainstream media to report sensitive topics related to gender inequalities and gender-based violence. In this work I explore the tropes and the effects of media cannibalism through the lens of intimate femicides - a phenomenon which has recently entered the wider public discourse in Greece.
Counter-readings of femicidal media imagery (2022) – mixed media installation - is part of the research project The Trauma of Looking: Readings and Counter-readings of the representation of femicides in the Greek mainstream media. The pile is composed by images circulated in the Greek mainstream media for the reporting of femicides in 2021. It is inaccessible, making at the same time visible the amount of imagery available in the media and invisible their sensationalized and unethical content. The collective trauma depicted in the images needs to be openly discussed, mourned and potentially resolved. Thus the pile is destroyed, turned into a paper pulp where knowledge can come through olfactive communication, which contributes to the photographic meaning, creating an environment for the affective experience of images. Finally, from the paper pulp emerges new paper where new histories (and images) can be written. The question of course remains, by whom and for whom?
This symbolic gesture is not erasing the violence of complicity, but rather uncovers and brings to light the suppressed narratives concealed within the original images.
A footnote in the world history (2022) – single channel video - The project revolves around the recent history of Germany's reunification and explores the inconsistencies between dominant historical narratives and personal memory. It entangles different memories of people who lived in the GDR (East Germany), reiterated by younger Germans, detaching thus the emotionality from the memory itself.
Although it takes place in an area that does not exist anymore, a non-place - the inner border of GDR - it shows a perpetual struggle of escaping and seeking new opportunities.
*𝘛𝘩𝘦 𝘱𝘳𝘰𝘫𝘦𝘤𝘵 𝘸𝘢𝘴 𝘴𝘶𝘱𝘱𝘰𝘳𝘵𝘦𝘥 𝘣𝘺 𝘏𝘈𝘓𝘓𝘌 14-𝘊𝘦𝘯𝘵𝘦𝘳 𝘧𝘰𝘳 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘈𝘳𝘵 𝘪𝘯 𝘓𝘦𝘪𝘱𝘻𝘪𝘨 𝘢𝘯𝘥 𝘎𝘰𝘦𝘵𝘩𝘦-𝘐𝘯𝘴𝘵𝘪𝘵𝘶𝘵 𝘛𝘩𝘦𝘴𝘴𝘢𝘭𝘰𝘯𝘪𝘬𝘪.
**𝘗𝘢𝘳𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘳𝘰𝘫𝘦𝘤𝘵 𝘵𝘢𝘬𝘦 𝘱𝘭𝘢𝘤𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘰𝘯𝘭𝘪𝘯𝘦 𝘤𝘰𝘮𝘱𝘶𝘵𝘦𝘳 𝘨𝘢𝘮𝘦 1378 (𝘬𝘮), 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭𝘭𝘺 𝘥𝘦𝘷𝘦𝘭𝘰𝘱𝘦𝘥 𝘣𝘺 © 𝘑. 𝘔. 𝘚𝘵𝘰𝘣𝘦𝘳.
The fossils, the ashes and other remains of existence (2021) - is a photographic work visualizing the complexity and the many different stages of experiencing loss. It aims to open up an unusual ontological dimension of the way we understand death through our connections to physical objects and the active involvement in the photographic event.
The project emerged from a personal trauma - the loss of my father, and my urgency to accept the incompleteness a death brings. Arriving back home several days after his death due to COVID-19 restrictions, I decided to spend several days in his house as his presence still felt very strong. By using only what was available to me in his 64m2 apartment I started creating surreal situations that would serve later as our last (prosthetic) memories together. Through this active engagement in the process, photography became a tool for post-traumatic healing. The outcome is a posthumous exploration together with an incorporeal protagonist that signifies at the same time presence and absence.
Future Relics (2021) - is a collaborative project together with artist Ben Yau, realized during our wanderings in the Wadden Sea islands.
After our encounters with the locals and the stories they shared with us regarding marine pollution, the changes of the sea-life and the fishing in the area, we decided to experience ourselves the effects of climate crisis on the island. By using walking on the beach, microcosmic looking and collecting as our main research method, we soon came to realize that in a closer look on this sand lied our fossilised future. Embedded within the present moment were relics of the past that act as forecasts of the future. Future Relics goes beyond what is visible operating into the potential realm of future ecologies.
