About the process

In our times, believing in the three dimensional seems almost anachronistic.

With the use of different materials like clay, plaster, cement, polyester and natural materials, an effort is made towards the timeless.

In our times, believing in the three dimensional seems almost anachronistic.

With the use of different materials like clay, plaster, cement, polyester and natural materials, an effort is made towards the timeless.

I see my studio as a space of freedom. There I continually create rules, and self-limitations, which I revoke. I use seemingly unsuitable materials and explore each and every technique needed to serve a very specific goal.

Then, ideas follow from observation of the work itself. I try to use the shortcomings of various tools and instruments as advantages, which guide me to personal solutions. I chose materials of low cost; as to make their use is accessible. This allows me to experiment with greater ease.

Any type of place or stimulus can create inspiration for the artistic process. Materials, photographs, and events are usually starting points instead of ideas.

The sculptures I make are not a single body, but consist of independent pieces. Thus, changing the order, I create different arrangements each time. I’m not striving for complete control. Instead, at times I allow the material itself or a random event to take the burden of decision making.

“Middle of nowhere” is another place.

“Middle of nowhere” is another place. A place that you encounter in an internal wandering. It is far from any specific point on the map but always near the borders, at the limit. The meeting point of two friends during a video call on the internet, the no man’s land of space and time.

The house models I “construct” are to me both a starting point and a self-limitation. They are my way of expressing myself about issues that I am currently interested in, such as an existence transcending time (or out-of-time) but also time, decay and endurance. I choose the house as a means of expression for several reasons, but mainly for its unique presence in human history. It is an object that functions both as a bridge and juxtaposition, as a factor of unity but also of tension. My objective is not to present a familiar house model, a house appropriate for conventional use, but to transform, to dismantle all (or most of) its known functions – those that make it a useful object, a dwelling, a residence; to disconnect it from its functional role. The words I would use to name it would be mostly negative (apophatic), they would describe what the house is not and not what it is: the non-house, the other house, the house without foundations. It could be a house constructed in order to be demolished, a house without windows, without security, a house that circumstantially draws limits between the inside and the outside but not in terms of functional efficiency.

The way I “construct” these houses is not relevant to the principles of traditional building techniques, nor does it conform to the technique of model-making. To construct them I use a combination of unmatching materials assembled in an unconventional manner. The houses might collapse after they are photographed or might prove to be stable and sustainable. I let technical mistakes lead me to new solutions, I trust whatever seems to be an error.

Πώς είναι στην μέση του πουθενά

Τα σπίτια στη μέση του πουθενά, δεν ταυτίζονται πια με τη λειτουργία αυτή για την οποία είναι προορισμένο ένα σπίτι στην κοινή του χρήση, όπως το γνωρίζουμε ως κατοικία, ως τόπο ανάπαυσης, αναψυχής, εργασίας και παροχής ασφάλειας.

Στέκουν ακίνητα ανάμεσα σε δυο στιγμές του χρόνου. Η ακινησία και η επισφάλειά τους είναι το ουσιώδες γνώρισμά τους. Αποκαλύπτουν το ασταθές υπόβαθρό τους, δεν υπολογίζουν στη στέρεη θεμελίωση για την διατήρησή τους. Επιζητούν τον κίνδυνο και προκαλούν την απορία.Τα σπίτια αυτά κατασκευάζονται, θα λέγαμε με γνώμονα το σφάλμα, την αστοχία. Οι δημιουργοί αυτών των σπιτιών εμπιστεύονται το λάθος, επικροτούν το λάθος και κατασκευάζουν με γνώμονα το λάθος.

Τα αταίριαστα υλικά, δημιουργούν ένα επικίνδυνο περιβάλλον για τους ενοίκους, οι οποίοι, εμπιστευόμενοι τα ασαφή περιγράμματα μιας οικείας, από την καθημερινή τριβή, μορφής, θα μπορούσαν ενδεχομένως να εξαπατηθούν.

Μπορούμε ακόμα να πούμε ότι τα σπίτια στην μέση του πουθενά, χτίζονται με απώτερο σκοπό να γκρεμιστούν, όχι να διαρκέσουν. Ορίζουν στιγμιαία το μέσα από το έξω. Ο εσωτερικός χώρος είναι περίκλειστος, πολύ καλά κρυμμένος ανάμεσα στους τοίχους έτσι που να συρρικνώνεται έως ανυπαρξίας.

Η Μέση του πουθενά είναι μακριά από όλα τα σημεία στον χάρτη και κοντά στα σύνορα. Είναι η no man’s land του χωροχρόνου.