Every expression of the subject is inherent in the body image, indicating the lack of being, which desire tries to cover.

As Vincent van Gogh's "Starry Night" is one of my favorite paintings, I created an acoustic composition with the main goal of creating an atmosphere with a freer and more abstract approach. The small touches, the colors, the swirling flow, the natural landscape of the painting and the psychosynthesis of the artist are captured. The piece in combination with two images consists of three parts. In the first part, the night landscape is presented, in the second the intense emotions of the artist and in the third the nature with its power that calms the human soul.

BRAINRINTH is a multi-channel video installation. The work attempts – through technology – to approach brain-related functions of memory, drawing on material from personal experience of the body in crisis. The title BRAINRINTH –from the words Brain and Labyrinth – is a play on the intractable riddle of an archetypal Greek structure (the labyrinth) and the labyrinthine processes of the human brain. The BRAINRINTH installation seeks a poetic mapping of the human brain.
Due to the shock of trauma, our understanding of the functioning of the body, and of nature itself –which we are trying to dominate – seems desperate and full of anxiety. Taking this into account, if we adopt a position in which we keep a distance of aesthetic neutrality, perhaps this reality begins to look less frightening.

Multiple distance sensors trigger sound events ας people move around and get close to the grid with the srceens.

A professional electrician works in the villa of the rich professional actor. The electrician is also an amateur theater actor. The love of the amateur actor seems to be greater than the famous actor. The famous actor tries to make money but the amateur tries to do what he loves.

Where do memories go when they are lost? Are they still where we left them, if we don’t recall them? In this room, as private and irrevocable as our memory, objects animate a series of scenarios. A memory floods the room, another struggles to disclose itself, another one leaks back and forth in time. The idea of the ‘other’ hovers between what has already passed and what is reminisced every time. We never recollect events and spaces as such. We always enliven recollections in our own way. Through constant evocations that seek to perpetuate the existence of the ‘room’, memories converse with space and time, as well as with a part of ourselves. Either as past, forgetfulness or loss, they always contain something that is already gone.

The ATHENDS project is an interactive installation whose purpose is to comment on the Greek media and how it fulfills its purpose based on the violent and unfiltered transmission of information.

This changing frame represents an allegorical image of human nature, which when it is in dialectic with the outside world - during the transition from private to public life, experiences conflicting feelings of apprehension, anticipation, reticence, curiosity and extroversion.

It’s Monday, the 13th of December 1943, the small town of Kalavryta is set on fire by the occupation army of Nazi Germany while the entire male population is being gathered on a nearby hill and shot dead. This war crime will go down in history, along with the massacre of Acqui Division, as the largest mass killing in Greece during WWII. Three men who witnessed these events as kids, locked up with the rest women, children and elderly people in Kalavryta’s primary school, recall this traumatic experience.

It is a work of digital design in real time that in its evolution displays the Word human, relationship coupling, thoughts and feelings..