Creation of a group installation entitled Intersecting Worlds. The installation raises questions about the diversity and dynamics of the digital world, the limits and possibilities of technology and how it interacts and transforms contemporary life, creating new stimuli and a new way of looking at everyday life.

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.

A documentary about Lazaretto, the desert islet near the city of Corfu that functioned for centuries as a quarantine station as well as a place of execution for political prisoners during the Greek Civil War. The identity of the place is approached through fragmentary testimonies and original sources.

"Dharmadhatu" is an experimental audiovisual video with linear narrative. It has been created with an original experimental technique, where each frame results from a live recording of the behavior of flowing colors on a painted surface.

This artwork consists of multiple videos of scrolls down found in well-known social media, which were taken by smart phone and are displayed in a horizontal layout and continuous flow. On a second reading and as the viewer moves away from the individual information, he or she realizes that the Greek flag is formed in the video. The artwork seeks to ask questions about the ever-increasing use and abuse of social media in Greek everyday life. Being sometimes means of communication and information and sometimes tools of manipulation, social media make people concern and strongly influence society in its entirety, while the posts of their multiple users are now an integral part of our modern (digital) public space.

The title of this artwork is "Where Do I Exist?". This is a virtual space that explores the relationship between reality and virtual reality. Moreover, it the result of a pandemic society that tends to communicate through social media. It is the impression of our lifes into a virtual world, free from our body and the stereotypes it might follows it. Could we be free from our body and ideas such as gender identity and death? What is the meaning of touch into an immaterial world? Anyone can be part of this artwork with a twitter hashtag of the word #immaterial.

Aynadamar: An important place as far back as when the Arabs were in the area. The whole region of Andalusia was supplied with water through that spring, reaching as far as Madrid. Several years later, the poet and playwright Federico Garcia Lorca is taken there to be executed. His work in turn supplied the whole Spain and spread to the rest of the world. The documentary intertwines significant events of his life with dramatised excerpts from his work, aiming at achieving Duende (as Lorca used to say), the quintessence of all things.

Eterotopia. Place within a Place that violates real time.

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.

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?