About

A multidisciplinary creative practice exploring the intersections of photography, design, performance, and cultural memory. The work exists at the boundaries between art and research, documentation and interpretation, personal narrative and collective history. This practice is rooted in a deep engagement with visual culture, philosophical inquiry, and the politics of representation. It seeks to challenge conventional modes of seeing and understanding, proposing instead a more nuanced, layered approach to image-making and storytelling that acknowledges complexity, ambiguity, and the multiplicity of meanings that emerge when we engage critically with visual materials. The practice spans editorial design, experimental photography, book publishing, and performance art, with a particular focus on Greek and Cypriot cultural narratives, philosophy of everyday life, and visual semiotics. Each project investigates how images, objects, and rituals shape our understanding of identity, place, and belonging. This investigation is not merely descriptive but actively engages with theoretical frameworks from cultural studies, anthropology, visual studies, and philosophy to create work that operates simultaneously as art and research, as aesthetic object and conceptual proposition. Projects range from magazine publications (Biophilia Magazine) to philosophical explorations (Astonish Yourself: 101 Experiments in the Philosophy of Everyday Life), photographic series examining mourning and memory, and design work that interrogates national identity and cultural heritage. The work has been exhibited internationally and published in various contexts, from academic journals to independent publications. Each project is conceived as part of an ongoing investigation into how we construct meaning through visual and material culture, how we negotiate between individual experience and collective memory, and how we might use creative practice as a form of critical inquiry. Central to this practice is an interest in the photograph as a site of memory and meaning-making. Through both analog and digital processes, the work explores how images mediate our relationship to the past, how they function as objects of desire and loss, and how they participate in the construction of personal and cultural mythologies. Photography is understood here not as a transparent window onto reality but as a complex technology of representation that shapes what and how we remember, how we understand ourselves and others, and how we construct narratives about the world around us. Recent work has focused on the semiotics of mourning in Greek and Cypriot culture, examining how grief is performed, represented, and ritualized through objects, gestures, and images. This research draws on theories of photography, performance studies, and critical approaches to visual culture to understand how communities negotiate loss and remember the dead. The investigation considers mourning not as a private, individual experience but as a deeply social and culturally specific practice that reveals fundamental aspects of how communities understand death, memory, time, and the relationship between the living and the dead. The editorial and design work emphasizes typography, materiality, and the book as a sculptural object. Publications are conceived as spaces for thinking through images, where layout and sequencing create meaning beyond the individual photograph. This approach reflects a belief in the importance of form and the ways in which design choices shape how we read and interpret visual narratives. Each publication is treated as a total work, where paper stock, binding, typography, image sequence, and spatial relationships all contribute to the meaning and experience of the work. Performance work extends these concerns into embodied practice, using the body as both subject and medium. These pieces often engage with ritual, repetition, and endurance, exploring how physical actions can generate meaning and how performance can function as a form of research and knowledge production. The performances are conceived as temporal sculptures, as durational investigations into how meaning emerges through time, through sustained attention, through the accumulation of small gestures and repeated actions. They ask questions about presence, documentation, and the relationship between live event and photographic trace. The practice also engages deeply with questions of archive and archival practice. What does it mean to preserve, to document, to remember? How do archives shape what we know about the past, and what absences, gaps, and silences structure archival knowledge? These questions inform both the creation of new work and the engagement with existing historical materials. Projects often involve working with found photographs, archival documents, and historical objects, treating the archive not as a neutral repository of facts but as a contested site where power, memory, and representation intersect. There is a sustained interest in the relationship between image and text, in how photographs and written language interact to produce meaning. This manifests in work that combines images with philosophical texts, poetry, fragments of overheard conversations, and theoretical writing. The goal is not to have text explain images or images illustrate text, but rather to create productive tensions and resonances between different modes of communication and understanding. Much of the work engages with questions of place and displacement, examining how photography and visual culture participate in the construction of national identity, in narratives of belonging and exclusion, in the politics of border and boundary. This is particularly evident in work dealing with Cyprus and the Greek diaspora, where questions of territory, occupation, division, and exile are inseparable from questions of visual representation and cultural memory. The practice is informed by a range of theoretical and philosophical traditions. These include phenomenology and its attention to lived experience and embodied perception, psychoanalytic theory and its investigations of desire, loss, and the unconscious dimensions of visual experience, semiotics and its analysis of how signs and symbols produce meaning, and critical theory's engagement with questions of power, ideology, and representation. These theoretical frameworks are not applied externally to the work but are integrated into the creative process itself, shaping how projects are conceived, developed, and realized. Questions of ethics are central to the practice, particularly the ethics of representation and the responsibilities involved in making images of people, places, and events. This includes considerations of consent, context, and consequence - who has the right to make images of whom, under what conditions, and with what effects? These ethical questions are understood not as external constraints but as productive problems that generate new ways of working and thinking about visual practice.