Installation
inject prints on vinyl, collage on paper, found objects, porcelain, wooden shelves, self-adhesive vinyl, textile design, armchair
Dimension variables
First version of the installation was presented at Reality check II: inner sanctum, Psychiatric Hospital of Attica, Dafni, Athens, 29 September – 07 November 2022
Curated by Kostas Prapoglou
https://issuu.com/artefact-athens/docs/reality_check_chapter_ii_inner_sanctum.
The installation was reworked and expanded to include textile design for an armchair for:
Nature Tracers, MOMus- Museum of Modern Art, Thessaloniki, Greece. Parallel Programme of the 8^th Thessaloniki Biennale, 21 December 2022 – 21 May 2023
Curated by Maria Tsantsanoglou
https://biennale8.gr/en/nature-tracers/

‘I lie here on this great immovable bed – it is nailed down, I believe – and follow that pattern about by the hour. It is as good as gymnastics, I assure you. I start, we’ll say, at the bottom, down in the corner over there where it has not been touched, and I determine for the thousandth time that I WILL follow that pointless pattern to some short of a conclusion.’

– from the Yellow Wallpaper by Charlotte Perkins Gilman

TO BE CONTINUED… began with a note my mother left in a childhood documentation book—a fleeting observation about how, as a toddler, I was drawn to bright colours and loved collecting flowers. That memory became a guiding thread, shaping my relationship with found images, objects, and materials I’ve gathered over the years. It’s as if the material and the imaginary converge: objects tucked away in drawers, images stored in the mind’s recesses, now stepping out to dance, collide, and transform.

TO BE CONTINUED… approaches image-making as a form of homemaking, drawing from vernacular displays, interior design, and exhibition strategies. The installation unfolds through commercial vinyl strips, custom wallpaper designs, paper collages, found plates adorned with birds and flowers, and a textile specially designed for an armchair. Patterns and colours ripple across surfaces—leaping from walls to plates to images, linked by the visual rhythm of circles. In this playful movement, climbing walls and dissolving into space, the installation asks: What use is fixity in the face of perpetual change?

PRESS