My works explore the comic and awkward condition of the object as a projection of an anthropocentric narrative with allegories of everyday life. My emphasis is on the moral implications of error and clumsiness, as well as on the gap between daydreaming and the reality that thwarts it. The context of this reading is also articulated, in the “common ground” of the public forum, with a vocabulary of forms and materials that suggest both the persistence and the failure of ideas of modernity, through environments that give a sense of urban arbitrariness (e.g. the buildings of Eastern and Western Attica) and temporariness (DIY constructions, communal spaces, hiding places, podiums, platforms, migrant camps), as well as “vagabond” sculptures reconfigured according to the conditions of their exposure. The works as objects, or as constructions that give the impression of collapse, or as cartoonish blobs that stand in a fragile immobility in the drawings, deviate from the solidity of the firm step and contain a comic corporeality, influenced by the stage elements of a certain theatrical tradition (Commedia dell Arte, The Theatre of the Absurd, futuristic operas).

The importance of adapting human behavior to conditions of urgency, its perception in terms of comic violence, is the dominant element in performative constructions, painting notes, design practices, speeches, and experiential situations throughout my work.

The placement of sculptures in space has as its starting point pre-modern narratives concerning the subpolitics of domesticity and rural life, exploring ideas that are centered on self-sufficiency and self-completeness; it is translated into furniture and spaces, such as improvised seats or sheds and fences made of reeds or straw, as well as in logs before their transformation into animated puppets. In our climatically changing environment, I focus on the interconnected relationship with the variability of our own mood and subjectivity.

The self and the possibilities of escape after the end of optimistic modern narratives, amidst the certainty of the dramatic consequences of climate change, constitute the new question – namely, to what extent are we capable of accepting the integration of these effects into human activities and not whine about it.