Art Works

For the past five years I have been organizing and participating in group exhibitions in Cyprus and abroad. In Cyprus, I founded Noise of Coincidence with a purpose of rallying young artists and give a new pulse to the local visual scene. Noise of Coincidence counts five events to this day. My work, before and after Noise, has gone and still goes through a lot of experimentation. Having studied painting, I began to work with this medium, before gradually feeling the urge to experiment with other forms of visual expression. I became curious, wanting to create out of material that would inevitably not stand the passage of time. Newspapers, dirt, chocolate and bread became my favorites. These works were either installations or performances. In retrospect, I realize that the reason I moved away from painting had to do with a need for my work to be more political in the broader sense of the term which includes the critique of the social and political life of my country and surrounding area. What primarily interested me was to probe into my subject matter in any possible way, regardless of the aesthetic result of the actual piece of work.

For the last two years I have been working exclusively on a series of installations, deeply influenced by the issue of refugees, of which I have personal experience since my childhood has been marked by several changes of all sorts of dwellings. My own experience, coupled with the mass movements of populations in neighboring countries (in the Middle East and the Balkans), led me to this choice of theme. Thus, I began to create a series of tents with multiple meanings. Tents made of a variety of fabrics and structured in a style that refers to Middle Eastern architecture (arches, domes, etc). Lace, muslin, leather provide an ironic twist to the subject matter. Given the materials and the shapes chosen, my works take an ironic stance on the issue of refugees directed not towards the refugees themselves but towards those responsible for making them refugees.

As the work progressed, a particular hero also took shape: the snail-man. Though his origins can trace to comics, he is not a superhero, savior of the underprivileged. He is a normal everyday guy, himself the victim of socio-political circumstances, who manages to find escape routes; literary. He travels dressed in costumes based on the idea of body architecture and, carrying his home-tent on his back, he rows his way across oceans or simply walks the waves. He cannot wait to travel into space too, which I hope will be possible during the Manifesta, within the framework of which I would like to see the whole idea develop into shapes and forms that even I have never thought of before.