Artist Statement

I perceive art as a work of knowledge and an ongoing process of communication.

My artwork incorporates conceptual strategies and methodologies. As a result of this process of theorizing, my work explores issues of power and control. Of particular concern are the institutionalization of daily life, the contemporary conceptualizations of the body as the field of both socio-political and emotional conflict, the power agents that mediate in the construction of identity and the systematic production of Otherness.

I employ photography, digital imaging and video to produce installations and interactive environments.

Through my art practice I propose the blurring of the boundaries between ‘real’ and ‘unreal’, the space among fiction, image and narrative, by employing ‘visual’ metaphors, fabricated environments, ephemeral constructions and participatory installations.

I conceive installation as a theatrical stage and as a performative act.

Far from being a documentary practitioner, I find myself in the position of the image-maker and visual storyteller. Believing that photography is not an objective recording medium, I wish to challenge its boundaries. In many cases, for the production of my photographs, I construct ephemeral environments using everyday materials, mostly small scale objects, that I blow them up through close-ups to convey a sense of an ambiguous, fictitiously ‘real’ environment with its own connotations and metaphors. The materials selected for each one of these series invoke specific connotations and meanings, functioning as the models for the visual metaphors.

I also combine photography with digital imaging suggesting that a photograph is indeed “a window onto the world”; yet this world is of multiple possibilities and realities. Thus, against the ideology of the “candid” and mirror – image pictures that dominates the ‘post-photographic’ era, I array the dynamics of the photographic medium to produce visual metaphors for ‘reality’, which mainly question, critique, comment, rearrange and/or reconstruct it.

Fiction is always in the core of my artwork; most of my works – either being photographs, videos or interactive pieces – incorporate fictitious elements by means of multiple digital interventions, manipulations and transformations. Fiction is the tool with which I develop my concepts and my view of reality as a performative and transformative process always understood in fragments, pieces and tendencies. Fiction constitutes the library of my various translations of ‘reality’; contains my artist’s perceptions of history, culture, memory, geography, mobility and interruption.