Una Carta De Amor A La Vida  - Una pieza perdida

Gel pens on linen notebook, plexiglas case. 48 x 48 x 6 cm.

Giardino segreto rosso, nr 1

My paintings are experimental, abstract works that are inspired by universal experiences of the intensity of contemporary living and a quest for simple, soulful harmony. Each piece aims to sooth the viewer by counteracting the oppressive effects of information overload and excess by introducing calm, silence and minimalism.

Deliberation

oil and acrylic on shaped panel with neon, 2020, 56" x 36"

Bound

130 x 220 cm,
inkjet print on Hahnemühle Photo Rag Baryta

No #04-130220-05

Statement:

My work is influenced by the exploratory coalescence of Art, Science and Spirituality. Studio production abstracts scientific and diagnostic strategies when conducting introspective experimentation, centralized around my deceased grandmother’s ancestral home. This space; where I live/work activates cultural analysis in relation to the ‘specimen’. Housing objects of investigation metaphysically linked to my Japanese heritage. Enigmas encountered during domestic excavations of displaced memorabilia, initiate intrigue towards former dwelling ghostly-bodies and their residual earthly possessions. Cultural objects are converted into cultural-specimens via tactile methods of dissection, modification, reanimation and preservation. Each chronological phase assimilates fragmented lineage, pertaining to the-self/examiner. Genealogical gaps unveiled among sequestered archives, constitutes a focus on tangibility, transience and liminal mortality.

Systematic installation subsequently reinstates specimen-hybrids within a network of refurbished Japanese display cases/cabinets. Transformed into incubation machines, to revive the objects originally stored within them. Each specimen/container is then taxonomically collected and labelled, corresponding to a counterpart analogue textbook. Operating as a laboratory record by transcribing evolutionary-variants and observational-data. Its didactic formatting re-establishes works through biostatistical documentation, illustrating investigative intent for each preserved subject. Museology informs the cultural extraction and rehabilitation of relics, utilizing assemblage to cease erasure and reclaim displaced artifacts. This circulatory exhibition transmutes life and death; conjuring ethereal perceptivity to restore ethnological DNA. Implications of relinquished language oppose western classification and constructs a historical discourse within my present-day work. The rectification of silenced-bodies relies on each works’ bio-memetic materiality; to unify the premise of restoration across multi-dimensional platforms. Synthetic, found, organic and spectral objects evoke vital symbolism within my habitual practice. I navigate transgenerational epigenetics and hauntological ontology by anthropomorphizing the realm of loss.

Materials: 
Silicone, Tubes, Wire, String, Inherited cultural objects (altered), Archival photos/Scripture, Medical/Government docs, Latex, Plastic, Metal, Mylar, Wood, Specimen Jars/Glassware, Curtains, Traditional Japanese display cases (altered), Plaster, Acrylic/Oil paint &medium, Tags/text, Encaustic wax, Medical objects, Dissection equipment, Resin, Hardware/tools, Bones/Skulls, Insects, Nylon, Stuffing, Metal grates, Petri dishes, Agar, Gelatin, Borax crystals, Traditional dishware, Preservative liquid, Fabric, The departed’s clothing, Cabinets (filing/china), Hair/Skin/Nails, Fabrics, Rice, Fungi, Rice paper, Canvas, Didactic labels, Sewing thread, Wall phones, Clay, Relics/Heirlooms (altered) etc.
Dimensions: 108” x 80” x 90”

Warm Bodies, Ghostly Specimens, Stoic Machines | Installation

This series shows how the photographic camera rendered motion and how the body's actions and movements reveal the world. The transitions of changes created by a body's actions and a fabric resulted in a depiction of new flows of meaning that act as becomings. Taking advantage of this transformative process and the mind's capacity to perceive familiar patterns where none exists movement is acting here as an event in the making.

One's self

Self-portrait with orange T-shirt (Oil on canvas, 2021) is a literal representation of
myself. There is no visual metaphor that one would need to find to understand the
underlying message. The painting is just me with my head laying on a surface and
my eyes gazing directly towards the viewers. All I want is to portray a state of restful
contemplation amongst a life filled with chaos and confusion.

In this work, I use colors and compositions as representations of myself and my
feelings. The neutral and earthy tones are my way of depicting tranquility, while
the dominating orange adds a heat that describes my characteristic: passionate
and some occasional bad temper. The greenish shade, on the other hand, helps to
balance that heat out and brings about a sense of a melancholic loner. I am, in fact,
a lost human being on a track to discover myself.

Artists like Robert Rauschenberg and Robert Ryman used the whiteness and blank
spaces in their paintings to create a meditative state of mind, and I would like to
create a similar psychological effect in my self-portrait. If the busy part focuses on
the shifts in colors and shadows on the face, the hand and its reflection, the rest
of the composition consists of more solid shades, providing a breather from the
stimulating color palette. The look in the eyes also adds a factor as it does not
express any particular emotion. It could be that I am looking into a blank, infinite
and undefined space.

Self-portrait with orange T-shirt

My paintings are about a question of what is paint and what is a surface. The viewer can see paint stripes from an underlayer created by oil absorbent paper with gesso as priming. Then with a collage as another paint. The old layer becoming a new surface. The work is trying to make the surface become paint by scraping paint and pull an under mark up to an eye.

Paint/Surface series, Acrylic on paper, cut and pasted, mounted on plywood, 2020

Paint/Surface

‘The Pessimist’ is a reflection of one of my flaws. My need to plan for the worst-case scenario because deep down I believe it will come true. It is a recognition of my limitations and my desire to not be defined them. 

The Pessimist

Two bodies combined, their necks bracing them across the room. the tension between the two bodies is gradually pulling them apart. Stones filter down the bodies into a bowl beneath them. Behind the figures there is a net containing a knotted red worm like creature, hung high in the air.

Rupture

Depicting a 21 year period of my life, this abstract from is generated from a body of statistics which highlight the UK's annual birth-rates. Starting at my own birth, in 1998, it represents the unified impact of a generation.

Born into Numbers

2021. Oil, acrylic and spray paint on canvas. 144x144cm

¿Me esperas?

mixed media with oil colour, 50 x 40 cm, 2021

This work is an artwork from the series Fields/Deserts. Three works from this series belong to the Vogiatzoglou Collection
 https://www.vogiatzogloucollection.gr/WV4JlZzbwzx6O2w1/0/S/EL


I come to you, from boiling sand, of desert sea

"Alone with my thoughts"

Resonant 02

From series II , 2017.
Inks and rain water on stone paper.

Falling Gracefully into the Sea

Reinforced concrete
4m x 4m

Photo: @kyriakos_achilleos

Gate

Unità mobile ca 95 x 83 cm metallo legno (private collection)

"you can't buy this painting with your money
your money doesn't exist
neither does this painting"
acrylic on canvas
80 x 80cm

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