The performance Finem deals with app[ause ας a transformative act. The aim of the action is to deconstruct applause ας a social expression of admiration and recognition.

A short documentary, based on the theory of Observational Cinema. It is the portrait of the caretaker of the British Cemetery in the island of Corfu, Greece, Mr. Yorgos Psailas. The documentary deals with his daily life in the cemetery. Mr. Psailas also recounts the most important moments of his life as well as his thoughts about life and death.

Eterotopia. Place within a Place that violates real time.

Social sensitization animation project on road safety. It emphasizes the use of a safety helmet when driving a motorcycle.

The compositional method is based on the incorporation of sound material of cultural background into an electroacoustic piece. By drawing a linear narration, my aim was to demonstrate a unity, an imaginary community, which characterizes the Romani culture, despite the hybridic, complicated and diverse traditions deriving from the various European and Asian countries its people live in. A central question behind the making of this piece is what kind of role can a civilization have today, when the concept of space is eliminated by time- a key element in the dynamics of capitalism. What are the cultural consequences of the so-called annihilation of time and space, as materialized and tangible dimensions of social life? Are historical tradition and the search for roots promoted and reorganized as simulacra, imitations or/and museum culture, thourgh the demonstration of a partly deceptive past?

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.

An interactive symbolic work consisting of a wire brain construction is presented. 

When the observer is standing in front of a work of art and is trying to comprehend it, they are consciously entering a recognition process. This is achieved because the brain recognizes the relationship between some shapes or colors in the piece of art and, automatically, recalls them from memory. This procedure creates the necessary conditions for the creation of new neural synapses. Using these facts?, the artist suggests an audiovisual performance that includes an interference of audio to the visual aspect? in real time.

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.