In my work I examine the subject and institution of work itself and labour in the post industrial era and the resulting, surrounding and supportive culture which, in various ways, establishes work as an indispensable element of the modern culture, collective conscious and subconscious.

Using automated systems of administration and office environments I create works which attempt to bring forward the functions and implications of  technical devices and digital platforms and facilities which due to their massive, collective use, practical necessity and high automation tend to be taken for granted, rendered ‘invisible’ and be largely overlooked as formative of life.

The interest in the development of the haptic automatism of cultural production finds an interesting relation to the automatism of human intelligence to ‘handle’ information, memory and its subconscious or even unconscious storage mechanisms, establishing separate internal realities with often highly independent expression when returning to the collective realm.

In the process of the work, I isolate and showcase incidents of such inadequacy within the realm of materiality – both physical and intellectual elements – and bring forward and finally dissolve the idea of monolithic, holy and supremely unquestioned facts of the current global culture of capitalism. In this process, elements of art history, political and social incidents come to terms with their supportive means of digital or analogue dissemination and propagation.

Within this landscape, I cast a further look at the performance as an individual and collective action focusing on the non orchestrated by the artist aspect of it. In particular, I mix the artist’s  and the labourer’s roles as features of a broader mechanism of cultural production; artwork ranges from personal product of artist, to subconsciously created structures of the urban space, to accidentally formed prints and artificial intelligence readings, all faced as equal contributors and creators.

While not identifying with the forms of archaeological findings, in my research I apply an excavation-like approach in two areas:

  • considering internet space as a land where information is hidden and acquired like hidden past relics.
  • facing sub- and un-conscious layers of psyche as potentially explored and broadened joining knowledge.


– Be it personal or collective, private or public, human or mechanical, performance is perceived as a material: a matter from which a thing can be made. What is of further interest, is to discover what is that thing which comes as an effect to various forms of contemporary performances and what are the new balances created with the various new introductions in the globalised culture and the new relations created between humans and their environments and the diverse links or discontinuations between nature and culture.

– The artworks are often referral to the possible illusions of the senses. Solid matter often comes in contrasting terms to concepts represented or ideas connected to it in life,

– Object based materiality develops largely to a drive in our current culture including art components: intellectual positions, methods, practices, and substances. Habits and social tendencies and actions of collective perspective become material of the work.

– As an effect of delusion (as psychoanalytic processes have indicated) performance varies from conscious to unconscious on personal and collective level not regularly visible or immediately perceived, yet collectively evidenced through its effects and implemented directions.

-The grid is a regular structure in my work, associated with the various forms of internalised institutionalisation, the narrative of sheer repetitive patterns, division, containment and organisation.


(statement extracts)
April 2018





In the domain of the post-industrial globalised culture, mechanised action, which in its brief history in humanity has been made in the imitation of and support to human life, gradually replaces man’s direct involvement in production and other paid labour, both manual and mental, while it progressively mediates between humans and vital natural resources.

Statistical prognoses suggest further withdrawal of large numbers of human operators from industry, while the work skills in demand will be limited to engineering and technical upkeep.

The analogy defeats humans to mechanical apparatus, rendering manual work-skills impractical. This is an interesting contrast to think of while considering the origin of the word ‘practical’ which literally means ‘to do’ (Greek prattein/ praxis).

In my own work, I use the scheme of antithesis to contrast current forms of culture with its own means. I am interested in how something created by humans can be the means to perform their own disruption or even destruction. Furthermore, how progressed aspects of culture of immaterial manifestation can be overlooked due to our prior reliance on that which is visible.

Interestingly enough, the word ‘matter’ linguistically relates to mother (Latin mater/ materia) alluding to the origins and source. Until today it has maintained both material and immaterial meaning (printed material, matter of fact) expanding beyond the perceptible to intelligible forms. I capture both properties engaging them in dialectical schemes which result in the art work, rendering them all practical again. This process focuses at the active conceptual properties inhabiting intellectual and physical forms, reagardless whether they are visually perceived or not. Intelligible properties are not bound by physical objects but rather address the relationships created between beings and things and the social surrounding.

The subject as individual human matter is physically absent in my works. It is evoked remotely through mechanical and mechanised operations of manufactured objects and immersed in commodities and commodified labour. Instead of being identified with a face and a person, is perceived as an agent, a processor in action, an intelligible form which is existent, active and potent. Approached as an intelligible form, the human is recalled as category while being evidenced through his/her productive effects they evoke and merge with the productive capacities of the spectator.

The object is usually represented by an industrial product, an accumulation of objects, a result of a mechanical activity or as a commodity and ready-made forms of life possessions.
Developed through such process the art work becomes an escalating dialectical progression of readable linguistic components.

While my work has appropriated the visual tradition of drawing, painting and photography, like Happenings, it is primarily concerned with participation and the relations that the art work can initiate inside and along with the viewer. How s/he can be encouraged to move physically and intellectually from the passive reception of reality or even banality towards an inter-subjective status of existence.

Following up the Art As Life aspiration, I bring forward the environments, performances and events of daily social routines were the humans enter and already enact social roles. In my work I often take the initiative to enter intuitively in different roles and ultimately dissolve the belief that the human -and artist in particular- is a linearly constructed entity.

This element is stated through artworks which clearly reflect the production conditions of the hosting place (office, urban environment, my studio) and derive from my interest in the form that Happenings or Performance could take today along with their possibilities to expand beyond the artistic tenure.

How can Happening be recognised and not branded as such, from the office routine to the urban, social action, to the roles which we unconsciously enter and reproduce (re-enact). The art work can suggest an already active position which does not debate the fall of the (‘fourth’) wall between the artist and the audience but rather takes place in an area of no walls where the artist and the spectator are both acknoledged of their productive force and beyond.


April 2017