Fragmented Narratives

 Fragments for me, are the best way to reflect this extreme delicacy and fragility of life in the twenty-first century. It is an uncertain time, at best, with threats ranging from religious wars and financial crisis to terrorism. Population moves and migrates, like never before. We are facing a fractured and fast-changing world. We experience everything as fragments, be it space, time, history or image, we live in a world in pieces. However, realizing this make us aware of the existence of a bigger picture. These objects, seem to suggest something about the world we live in, something about what time and space means, something that is in front of our eyes and yet somehow eluding understanding.

 



TIC/ 2017 / engraved granite / installation view and details

While engraving on granite fragments the phrase “Exotic Athens” and sketches of my personal view of the exotic, I have in mind the way they engrave monuments and gravestones. The granite pieces are urban found objects from a public pedestrian floor.


They were, those people, a kind of solution / 2017 / spray paint and oil pastel on urban fragments tied with denim cloth / installation view and details

On this collection of found urban fragments is written the last two lyrics of C. P. Cavafy’s poem “Waiting for the Barbarians” [-And now, what’s going to happen to us without barbarians? – They were, those people, a kind of solution.]. The fragments are tied with denim cloth. I used denim as something more human, in contrast with the other objects here, that people only reflect on. In my viewpoint, denim as a material that touch the skin, has a different memory in it.


CRAP___ENT / 2017 / engraved granite / installation view

This diptych was the first of the engraved granite series. The slogan “Crapumenta 14” was all around in the streets of Athens during the Documenta 14 (2017). Considering the reaction of Athenian people funny, interesting and serious at the same time I have used fragments of the word to write “Crapy Monuments”, while commenting the way titles of works and names, were engraved on marble in Documenta 14 in Athens, as in public monuments. The granite pieces were found in public pedestrian floor.


IFISTAY/ 2017 / engraved granite / installation view and details


WAITING/ 2017 / engraved brick / installation view and details


Baptism/ 2016 / spray paint and rust on metal 

‘’Baptism’’ investigates the concept of the perceived and the actual alteration of the object by the artist and the artistic process. In order to alter its natural color, combine layers and add a new surface in objects timeline, in contrast to the new and the old, I use a slick bright color (special spray paint for cars with a transparent second layer). I am interested in the concept of changing something already rusty or rotten, as a ritual of hiding its true nature.     

Sugarcoated violence/ 2016 / sugar and spray paint on metal

This work explores the limits of a material, a situation or an idea. It moves between opposite poles: a spontaneous action and its regret, a beautified situation and ugly reality.

                                                                                                                                                          

 


ALIS___M/ 2017 / engraved granite / installation view and details

Engraved fragments of colonialism.


The mediocrity of an insignificant object  (marble) / 2016 / spray paint on marble / installation view

This work is also part of a project that consist of a collection of objects I found on the streets. The project questions how an object functions in different contexts, in which ways an art intervention changes a found object inside and out of an institutional space and, finally, how does an object gain its significance in different contexts. Through this work I explore the relation between an object’s origin and its processing by an artist.


Inevitable ending ? / 2016 / spray paint on wall part / installation view

This is a slightly modified part of a building’s wall in Brussels, this work centers on  the use of vandalism on disappearing or on ruined houses, – on decomposing walls in the urban landscape -, and on the actual relocation of the urban fragments in a new context.