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The performance which took place In 1997, at the ancient city of Delphi, as part of an intensive Erasmus+ program dedicated to “public art.” was simple in its execution, yet deeply symbolic. This interplay of light and shadow, face and reflection, forms the basis for my later engagement with memory, shadows and philosophical interpretations of reality. The event at Delphi was not just an artistic exercise. it was a symbolic act deeply rooted on a conscious exercise of the historical and spiritual significance of the site. The place triggered the performance with an otherworldly atmosphere, as if the participants were not just playing with their shadows, but were engaging with something much greater—a cosmic force or Platonic ideal, present in the light that casts their forms and draws the shadows them on the drawing paper. Each movement of the bodies was creating a dynamic and ever-changing relationship between their physical bodies and their intangible reflections. The black projections on the white canvas not only constitute the imprint that become the first painting-the secret key of the world of painting. This event turned into a game where there were gods were listening and myths performed.

This play (interaction) became a visual metaphor for the duality of human existence, evoking Plato’s famous “Myth of the Cave,” in which shadows represent the illusions we mistake for reality. It marked the beginning of a long fascination and play with shadows – not only as physical phenomena but as symbols of perception, memory and identity that simultaneously mark a living entity of our visual perception in everyday reality. This interplay of light and shadow, face and reflection, forms the foundation for my later engagement with memory, shadows and philosophical interpretations of reality. The feat at Delphi was not just an artistic exercise. it was a symbolic conscious act deeply rooted on the historical and spiritual significance of the specific site. The eternity energy by the spiritual heritage of the site evoked with event the happening the performance (these terms remain unclear to me although I have read thousand of times their clear definitions creating an eerie atmosphere, as if the participants were not just playing with their shadows but engaged in a dialogue with something much greater – a cosmic force or a Platonic ideal, present in the light that casts their forms and draws their shadows on the drawing paper. Each movement of the bodies changed the shape of their casted shadows, creating a dynamic and ever-changing relationship between their physical bodies and their immaterial reflections. The black projections on the white canvas not only became the imprint and becomes the first painting the secret key to the 2d world .But this conversation went beyond the boundaries of a game and turned into a game where both Gods and myths were present. The conversations were listened to and flourished
This interaction became a visual metaphor for the duality of human existence, evoking Plato’s famous “Allegory of the Cave,” in which shadows represent the illusions we mistake for reality. This show marked the beginning of my fascination with shadows – not only as physical phenomena but as symbols of perception, memory and identity that simultaneously mark a living entity of my visual perception in everyday reality.

The god of light, music, and prophecy seemed to linger in the air, his spirit touched my shadow cast by the sun and changed my fate. I recall feelings as colourful , pure, white observations, water meditation sounds, a sensation that transcended the physical and seeped into the spiritual. It was as if Apollo himself had blessed the performance, leaving an imprint not only on the canvas of paper but within the soul. My work would increasingly explore the nature of shadows and their philosophical implications in a world dominated by technology. I would find myself instantly returning to the concept of the Platonic cave, by feeling much like a cave’s prisoner, trapped by illusions created by screens and digital projections. The light of the this event became symbolic of these illusions, shaping my inquiry into how I perceive reality and what lies beyond the shadows of modern life. The 1997 performance was not just a fleeting moment in time but a pivotal event that set me on. The interplay of shadows, the influence of place, and the unexpected convergence of people and ideas all coalesced to form a beginning…… The experience in Delphi, with influenced me on searching intermedia and interdisciplinary areas σθψη ασ technology, mythology, memory within my artistic experimentation and would forever resonate within me, guiding my creative journey and deepening my exploration of the unseen forces that shape human perception and motivation.

1997,Athens, ASFA, Installation (digital printings ,sinkers, fishing lines, light)

Μέσα από την ανάπτυξη συλλογικών και ατομικών πρακτικών της σχέσης σώματος, τόπου, δημόσιου χώρου και με ερμηνευτικά εργαλεία τη φωτογραφία, το collage, τη ζωγραφική, προέκυψε μια σειρά από έργα που αφορούσαν εγκαταστάσεις στο χώρο αλλά και ζωγραφικά έργα.

Οι διαστάσεις των ζωγραφικών έργων /ζωγραφικές νοητικές χαρτογραφήσεις που έφταναν έως 3.00 Χ 1.90 μέτρα αφορούσαν τη σχέση του σώματος με το ζωγραφικό πεδίο τόσο σε επίπεδο κλίμακας του ακόμα και αν αυτός είναι χωρίς χώρο η “πλακάτος”, όσο σαν μια εν δυνάμει ζωγραφικής χειρονομίας.