The cinematic portrait of a visual artist, Demetris Papazachos, a senior student of the Fine Arts School in Thessaloniki, is about featuring an artist without just showing his artwork but emphasizing at his personality and his artistic thinking instead. Through his internal journey, gay culture elements are projected while an interesting question is raised: Who is "A Visual Artist" at last?

Α creative dynamic dialogue with artificial intelligence (ai). The cursor is about to press "generate". Analyzing.

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

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.

Α work based on the rules of kinetic poetry and explores the relationship between Space and Self. The Space defined by our Self [Ego] is malleable, it changes and interacts with the Space of Others. Physical and non-physical, the Space covered by the Ego is hetero-determined and constantly changing in eternity.

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.

This is a Iove story between a female statue and a man. It is about the pious desires of people ας they apply them to the interpersonal relationships they develop.

Τhis piece refers to a suffocating relationship between a father and a son. This oppressive relationship is expressed by the father’s obsessive calls to the son to come and eat his food warm. The son lives in an imperative rhythm of breakfast/lunch/dinner with few getaways because his father never stops calling him, while having a piercing voice. The father lives in a rhythm of constant orthostatic food production. A very elastic son, a very rigid father. A piece of wood, also rigid, who attracts the son. She had been washed by the sea. The highest boiling temperature is at sea-level. Splashing and seething became one. Apnea and immersion in his father’s pot, which is the symbol of his influence, eventually are leading to his release. He tightened so tight on her that for the first time he was stabilised. They were swept away from the waves and while floating they turned into furniture.

In the realm of acoustic hyper-reality we meet aural simulacra of the order of maleficence. These are signals that mask and denature a profound acoustic reality. They are referential and representational, but in a way that they dissimulate reality and become its twisted Doppelgängers. Simulacra of the order of maleficence are perversions of reality. With the sound artwork ‘Natural Perversion’ Through a set of sonic processes the artist delves into autogenerative, autopoietic, responsive and biomimetic modes of creation exploring how the original naturally produced audio signal can be transformed into a sonic caricature and depending on the way it balances between its signifier and its signified aspect, it may re-interpret naturally produced concrete audible events into a musical language which serves both the acousmatic and the non-cochlear approaches to contemporary sound art.