Flat Containers (Blind Spot), 2019, Installation view from the group exhibition Curved Arrows at Kunstraum Am Schauplatz  curated by Kostis Velonis.

Flat Containers (Blind Spot), 2019, Installation view from the group exhibition Curved Arrows at Kunstraum Am Schauplatz  curated by Kostis Velonis. Photo credits Corinne L. Rusch

Flat Containers (Blind Spot), 2016, Various mirrors, wooden bracket

Flat Containers, 2009, Mirrors of different dimensions

Flat Containers #2, 2018, Single mirror, 0.50×0.60×0.45m

Flat Containers, 2018, Installation view from the exhibition Stopping Point, cur. by Kostis Velonis, at Daily Lazy, Athens

Mirror lies between the personal and the public, often approached as a fetish-object, and other times as a sheer or distorting reflector of reality, lies between hypothesis and reality; what is evidenced by me and that possible to be witnessed by others too.

Mirror is related to consumption and implicating personal and interpersonal appearances and relations often resulting of subconscious patterns infused with narcissism.

The triangular corner mirror deliberately resembles to a pile refering to Felix Gonzalez Torres ‘portrait of Ross’ where the portrait becomes a matter to direct consumption from the audience. The work focuses and captures the portrait of the audience itself and brings forward the dilemma between mere consumption of the(ir) picture or the transforming into an active agent of the artwork [by being part a) of the portrait formation, b) of the reflective process].

Both of the works see in the micro-structures of the mirrors a parallelism to the micro-structures and patterns of relations and modern personalities, massively (and subconsciously) infused with narcissism disproportionately infused to a culture of spectacle, exposure and observation.