A short documentary about the living conditions in the refugee camp of Samos island. Ιt records fragments of the children's daily lives and the personal effort of an Afghan resident of the camp, while he is teaching english to other members of his community.

The quarantine's experience time has functioned as a humanized time. Its previous social barbarity was imprisoned in the familiar cage of my soul and became my creation time. Each day was my friend, an eternal circular and dynamic present, a consciousness without conflicts. It was like an eternity that is experienced differently every moment. An unprecedented form of stillness gripped me and perpetuated in many abstract fragments which finally formed the new texture of my existence, in this peculiar isolation. I became from the carcass of time I was before, its qualitative disintegration… Reality was distorted and experienced illusively. The time from the alienation that was before, was transformed and became the cover for the scratched truth of myself. This kind of time my conscience had dreamed to live.

EX-SITU[existing situations] is an interactive installation that incorporates a computer, sound, and lighting technologies in which users/ viewers take part in the destruction of the painting by stepping on it. At the same time, a motion tracking system marks visitors and a light spot tracks them.​
The content of EX SITU calls for awareness of social indifference, self-promotion, and their impact on society. The structure of EX SITU is intentionally ambiguous, revealing the obsession/fascination for the protection of material in contrast with the empathy for other people.
The interactive installation underlines the responsibility of individuals in society. The theoretical part analyses the Destruction in Art Symposium in 1966 and The bystander effect, or bystander apathy, in which individuals are less likely to offer help to a victim when other people are present.

Presentation of 3d projection mapping, on Church of Panagia ton Xenon, Kyra - Faneromeni (Old Town, Corfu, Greece), October 2, 2020 at 10:00.

In the dissertation, following the strategy of deliberate ambiguity and crossing different eras, we go through a path of images and information, which express hope and fear in various fields and they characterize every culture and every society.

At the same time, moving from formalism to realism, it emerges that the Aristotelian definition of the representational unity of space-time-action is no longer valid in art. Undoubtedly, the formalist movement has shown that planes are understood not only as sequences of logical units, but also as theoretical or ideological conceptions, where their connection is not legitimized on the basis of the principle of space-time unit, but by some abstract theoretical model, such as is the model of metaphor, the path through contradictions, symbolism and anything else that enhances the removal of the theoretical model. But also internal realism, which is not a theory of truth, highlights the convergence of two seemingly incompatible ideas.

This short film is the portrait of a man, emphasizing a specific aspect of himself, that is, his engagement with musical improvisation.

Blah as an artwork that interacts with the phenomenon of the speaking subject. The artwork responds to the human voice with air, and the intensity of the air is proportional to the volume of the voice.

Borrowing immersive practices from physical theater and the Black Box framework, the project seeks to create a liberating condition where visitors have the opportunity to experiment with their voice outside the system of organized language.

Blah is the artistic part of my master thesis on the problematic behind the three dimensions of organized language: communication-expression-meaning.

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The subject of Charis Myrsilidi’s thesis concerns the transfer of literary text to image. The excerpts of the selected texts are stories from the Grimm brothers' fairy tales and the connecting link is the pattern of transformation (metamorphosis). The presentation of the practical part of the thesis concerns an installation with clay sculptures, sound track and lighting. The sculptural space is formed by Charis Myrsilidi, a student of the Department of Audio Visual Arts and the sound by the composer Ioannis Konsolakis.

The video is a documentation of a spatial installation with a dual role, through viewing / observation and participation. The investigation of the relationship that develops between digital and real space, acting in it, as the main axis of the narrative, the human being is the framework of the research with object of study the concept of metaphor to the coexistence of experience as a narrative and of the experience of the present as a fact of performance. The real environment through recording projected into an analog painting and transferred to a digital environment (images-video- video projection) connecting the real, the digital and painting form. Respectively, the natural environment of the installation transferred to the projection surface, in a digital space, via the camera and projector.

With the opportunity of the preparation of the trip, the productive process of maintenance, repair and work in the area of the shipyard, the project "Forest of Winds" is created. The project was named "Forest of Winds" because of the sound of the wind passing through the masts of the boats. The "Forest of Winds" is a 360 video animation evolving into a theatrical space and indefinite time. The video depicts the invisible side of a dream, the dream of a journey and its preparation with the forms of workers hovering impersonal in space as work uniforms, creating a choreographed kinesiological narrative process. The forms of workers rub, shine and accomplish all kinds of jobs with their repetitive motions, until they are left in space like objects in an endless free fall.

The project is the animation of the fairy tale "The chained elephant". "The Chained Elephant" is one of the stories of psychiatrist Jorge Bukay from his book "Let me tell you a story" which he tells to his client. It refers to a child' s question who notices that a huge circus elephant remains tied to a small stick without trying to free itself and without protesting. The circus elephant remained tied to his tiny stick because "the memory of the weakness he felt shortly after his birth is etched in his memory."