/Fountain #

2020

The incorporation of the aqueous body into my sculptures is a new approach which aims to bring both candor and a visible fragility through the relationship between water and the sculptures. The notion of instability, a rupture that can occur at any time by the resistance of water or simply by the very fragility of ceramic are the primary parameters of the /Fountain # series. The flow, the fall, the overflow, the flood, all these notions which are an abstraction of control can manifest this inherent force which will always exceed us.

Syphon /Fountain #2, ceramic, synthetic rubber, wood, metal, water pump, 2019

 

Syphon /Fountain #2, ceramic, synthetic rubber, wood, metal, water pump, 2019

Syphon /Fountain #2, ceramic, synthetic rubber, wood, metal, water pump, 2019

Flood /Fountain #1, ceramic, polymer clay, water pump, 2019

 

Flood /Fountain #1, ceramic, polymer clay, water pump, 2019

Flood /Fountain #1, ceramic, polymer clay, water pump, 2019

High Tide /Fountain #3, ceramic, polymer clay, synthetic rubber, plaster, PVC, metal, wood, water pump, 2019

High Tide /Fountain #3

High Tide /Fountain #3

 

High Tide /Fountain #3

 

Series of functional disorder

2020

The Series of functional disorders started during the residency Project Network I at Guldagergaard in Skælskør, Danmark, back in January 2018. Still today, this project takes an omnipresent part in my current researches. It aims to represent the potentialities of failure - thrills that arise from unfortunate events, loss of control and uncertainties. The error has an inherent aura of resistance in which resides the nuances, the mistakes, the flaws, all the things that define us as individuals. If we look at an object properly it is like the surface of a mirror: a reflection of ourselves as creators. Its imperfection is an analogy of our humanness.

Used primarily for our everyday functional objects, ceramic - which has always surrounded us - offers us infinite possibilities of creations. Nevertheless, these materials remain still very connoted to the functional. Paradoxically, it is the failures of handmade to match mass production technical brilliance that makes it attractive. In this glorious failure resides the nuance, the mistakes, the flaws, all the things that make for humanness in objects. The functionlessness creates an uncanny situation where the identity of the object disappear to reveal its real own image. In the end, it is always about embracing the useless beauty of creation.

Ceramic, polymer clay, metal, 2018 - 2020

 

Ceramic, synthetic rubber, polymer clay, 2018 - 2020

Ceramic, glaze, paint, 2018-2020

Ceramic, polymer clay, 2019 - 2020

 

Ceramic, polymer clay, 2020

Foodfired porcelain, polymer clay, 2019

 

Woodfired stoneware, 2018

 

Wreckology

2018

The installation depicts a cartoonesque attempt to intervene on a mysterious emerging shape facing a concrete jetty. Below the barely perceptible tip, lies a large industrial engine abandoned for decades. The crane-like trebuchet sculpture depicts an uncertain gesture towards the sunken object. It is unclear whether the lines are made to extract it or to burry it further down its resting place. The location of the piece is at the intersection of a constellation of industrial, traditional and leisurely marine activities in Elefsina. The colorful visual language of the installation considers the possibilities of a cohabitation between the remains of industries and a decolonized coastline. The piece extends above and under the seascape to address the idea of the sea as a space for disposal and disappearance. Burial is lighter than retrieval, the sea carrying the weight itself. However, the vastness of the sea has vanished. One is left to contemplate the potential of scaling down and investing time into liberating spaces from objects with insignificant means perhaps, but joyfull at least.

The piece was created in collaboration with Forlane 6 Studio during the Initiator residency in the context of Eleusis 2021 European Capital of Culture.