My artwork is an attempt to approach different ways of reading and encountering reality. Translation, conversions, codes, mapping and metric systems are notions that intrigue me and emerge in my artistic practice in different ways. More specifically, I deal with interpretations that are defined geographically, such as our perception of time, place, movement and speech. Images consist of different view-points, and I get fascinated by investigating such personal elaborations.

There is a diversity of materials and techniques employed in my practice, according to the peculiarity of each particular project evolved. Installations, space interventions, ceramics, embroideries, videos, animations, artists books, performances, culinary experiences and events are invented in proportion to the examined place and time.

Participation has been a key methodology in my practice. People walking on the streets or working at their shops have been invited to participate in, host and / or construct my projects. A magnetic world map is made to be re-arranged according to visitors’ desire. People around the city of Skopje are invited to colour-in a square part of a life-size, world-map-puzzle, while people around the city of Athens are asked to draw their image of the city. Passers by the Ledras street cheque point of Nicosia, are invited to participate in a collective and life size, 300 – piece puzzle, while being offered a lemon flavour ice cream cone. The CCA Kitakyushu artists in residence are invited to invite me for lunch or dinner of their choice, while I keep record of the recipes served to myself. Visitors of my ACAVA studio in London, are free to follow the step-by-step instructions of handed out recipes, and use the provided ingredients to produce the described desserts.

Similarly, interviewing unknown people on the streets and inside their working environments, is also an important practice methodology. The different views points accumulated, often play a prominent role in the final artwork. 10 people around the Acropolis are using words to portray the monument, replicating the form of a tourist postcard serpentine. 24 unknown interviewees are revealing their fears in front of my video camera, in order to create some kind of a spell. Photographs of children living at El Max village of Alexandria, construct the third, Egyptian version of a digital clock, where images of hands represent the clock’s digits. The sound recordings of original, one-minute radio news delivered by Athenian primary school children, present a longer in duration perception of facts. At some other part of the city, inside a well-known cosmetic center, a poem on time by Zoe Karelli is recited word by word by the shop assistants. Cite International Des Arts residents are depicting their national interpretations of animal sounds.

In these and many other ways, the work often acquires an anthropomorphic character and the people become both the content and context of my practice.