I grew up in Ithaca, Greece and I am currently residing with my son in Athens where I work. In the past, I have lived in Naples, Barcelona, Istanbul, Berlin and in other places depending on the circumstances. I have presented performances at various unconventional sites, including beaches, squares, rivers, parks, and impromptu stages in public space. My work has been exhibited in museums, institutions, galleries, and festivals, including the Onassis-Stegi Foundation (Kin Baby, FUTURE N.O.W, 2021 and Kivotos Channel, 2021), the Benaki Museum (“The Same River Twice”, 2019; “The Equilibrists”, 2016, both curated and organized by the New Museum, New York and the DESTE Foundation), the Kultursymposium Weimar (2019), the Goethe-Institut Athen (“Weasel Dance”, 2019), the Athens Biennale AB6: ANTI (2018), the Athens Biennale AB5to6: OMONOIA (2016), the Material Art Fair (Mexico City, 2017), the Rosa Luxemburg Foundation (Berlin, “Autonomy Help ME!”, solo exhibition, 2015), MPA-B (Berlin, 2014 and 2015), Action Field Kodra (Thessaloniki, 2012), and the National Bank of Greece Cultural Foundation (MIET) Thessaloniki Center (at a parallel event of the third Thessaloniki Biennale of Contemporary Art, 2011). I have studied History of Art in Italy, and Fine Arts in Greece under P. Charalambous. I was recipient of IKY (State Scholarships Foundation) and Vikatos scholarship for my Masters “Space Strategies” in the Art Academy Weiβensee, Berlin, graduating in 2015 with honors under A. Creischer, A. Siekmann and K. Wildner.
I have co-curated and co-organized numerous art projects and performative events, while in 2013-2014, I was a co-labourer of the MPA-B (Month of Performance Art, Berlin). In 2019 I co-founded “Most Mechanics Are Crooks”, an artistic and curatorial band that aims to reclaim insincerity as a tool of progressive discourse. Since 2020, I am a PhD candidate at the ASFA (Athens School of Fine Arts). The title of my PhD thesis is: “m-otherness. Towards an investigation of mothering voices and representations through subversive tactics”. Using the camera as a physical extension of myself, I have experimented with different artistic practices such as performances, installations, films, participatory acts and projects. With my work, I seek to explore and capture the complexities and subtleties of “visual ethics”, whilst reflecting upon notions of gazing, participation, power and instincts. Due to my interest in social anthropology and politics, I have researched feminist and LGBTQI+ parenthood representations, in relation to radical ideologies, stereotypes and identities.
My time-based practice has included interventions in intercultural frameworks, public spaces, and secluded or subaltern communities, where I often appear as someone else. In such a context, I attempt to explore what happens when particular groups of affinity or persons with unusual interests, vocations and hobbies, are displaced or de-contextualized in institutional or cultural events. My recent artistic practice revolves around issues of “different” or “alternative” parenthood in relation to post-human and feminist representations. My activity, deeply shaped by these observations and my role as single parent, lies in between the conceptualization of motherhood and the research I am conducting with groups related to “alternative” parenthood. Considering such preoccupation urgent and necessary, I am in the process of mapping the voices of the individuals, duos, couples and groups who merge politics and parenthood, public and private space, art and parental love, feminist activism and post- human parenthood, kinship rituals and the everyday. Through fluidity, embodied and performative methods, I consider myself as an observer making use of participatory and collective strategies, for creating representations in a constant “impregnable” process. Such preoccupations motivated my interest on post-human theory such as eco-feminism and hydrofeminism, which I often encompass in my time-based practice.