steel, wood, rope, camping lights
The sculpture design is based on musical instrument shapes and the title is borrowed from one specific percussion instrument made in 1996. Having some specific musical instruments in mind, I worked on each sculpture thinking
of a physical element (air, light, fire) together with additional references to the circus, basic geometric shapes or summer idleness. My desire was to create a space between a playground and a sculpture park.
This project was produced in the framework of the exhibition “Fireworks Out of season-Riviera“, curated by Galini Notti,and took place at the open-air cinema Riviera in Exarcheia neighborhood of Athens on a winter weekend.
photos by Mariza Nikolaou
Is it all white?, 2014
@Athens School of Fine Arts, “Nikos Kessanlis” Exhibition Hall
Is it All White? was an exercise, an attempt to understand if the production of knowledge through handiwork could act as a medium to construct a resilient structure.
How manual labour is formulating history, where is the human body in relation to this history and what are the alternative ways of construction that could highlight the multiplicity of its narratives?
Through sculptural gestures, a table turns into a vitrine and vice versa. Small white clay figures are placed on wall shelves, so high that the viewer cannot touch them; the object of the image is reproduced in a way that a solid form is reduced to a composition of fragments.
All photos by Mariza Nikolaou
Θέλω να κάνω σαματά/ σαν τον κακό Γενάρη/να ρίξω χιόνια και νερά/ άλλος να μην σε πάρει./ Twinkle, twinkle little star./ how I wonder what you are./Up above the world so high/ like a diamond in the sky, 2014
Clay, wood, wire, twine, book pages, fabric, tape
@A Thousand Doors, curated by Iwona Blazwick, organised by NEON Foundation and Whitechapel Gallery, Gennadius Library/The American School of Classical Studies, Athens
photos by Natalia Tsoukala
Explosions in the sky – Welcome, Ghosts, 2013
Clay, wood, paper, cloth, knife
87 x 62 x 37 cm
This work is not an obsessive collection of objects but the result of specific body processes. The tiles are molds from my thigh; mimicking the way traditional ceramicists were producing roof tiles. The stacks of paper are comprised by encyclopedia pages I torn apart one by one, creating a kind of personal reading.
Smudged by clay, the knife betrays its practical use for the tile making and symbolically marks the violence and aggression that is tapped into making this sculpture, while the cloth indicates the complementary dimension of care.
The image of the explosion, frozen in time, incorporates an element of uncertainty.