My work exists at the intersection of digital media, conceptual deconstruction, and multimedia storytelling, challenging traditional artistic structures while embracing the fluidity of contemporary digital culture. I engage with themes of identity, memory, surveillance, race and their intersection with art, technology and humanity.
My work engages with the deconstruction of images, narratives, and histories, interrogating how they are constructed, dismantled, and reinterpreted within intermedia and networked contexts. Through fragmentation, erasure, and reconstruction, I explore the instability of meaning and the fluidity of digital representation, questioning how technology reshapes our understanding of identity, memory, and cultural narratives. During the processes of fragmentation, erasure, and reconstruction within an intermedia and networked context, critically examining how images, narratives, and histories are constructed, deconstructed, and reinterpreted across digital and physical spaces. Initially trained as a painter, my artistic practice has evolved into an experimental and interdisciplinary approach, incorporating animation, digital drawing, photography, sound art, installation, and performance. My practice is process-driven, with works emerging from digital experimentation, research-based inquiries, and algorithmic or interactive systems. My animated works and digital drawings often distort, reassemble, or reinterpret classical iconography, contemporary media, and cultural artifacts. My work is deeply influenced by critical theory, media archaeology, and social commentary, particularly within post-internet aesthetics, speculative digitality.
camera-based pieces as amfitheatros series, meteoros (and more performative works ), network explorations as “In-terra-net”, “Web-based” and more that engage ideas of deconstruction, memory and perception, algorithm-generated interactions as the “Virtual Garden” that function based on explicit parameters and rather than generating new, unique responses , “The shadows” and more reflect an ongoing fusion between the physical and the virtual, the documented and the manipulated, the organic and the mechanical. They function based on explicit parameters and rather than generating new, unique responses
Rule-Based & Deterministic: Traditional algorithms follow predefined rules and logic, meaning they do not learn or adapt beyond what they were programmed to do. Static & Predictable: They execute specific instructions without context-awareness or the ability to generalize beyond their design. Less Personalization & Creativity: They function based on explicit parameters rather than generating new, unique responses.
ai-generated interactions
I am interested in ai-generated interaction like “Expanded Virtual Garden (E.V.G.)” and I try to expand my work on that area by expanding the concept and the mechanism of an ai-generated classification.
Key Themes & Influences
My work is deeply influenced by critical theory, media archaeology, and social commentary, particularly within
queer culture,
post-internet aesthetics, and
speculative digitality.
The act of destroying and rebuilding visual or conceptual narratives plays a central role in my artistic practice and my life. Projects such as “Photo-Destruction” and “Notebook Erase” investigate the limits of permanence, memory, and erasure. In works like On “Surveillance” and “Diktia/Net Works“, I explore the politics of visibility, control, and data as a tool for both connection and restriction.
- Surveillance, Networks & Digital Identity: In works like On Surveillance and Diktia/Net Works, I explore the politics of visibility, control, and data as a tool for both connection and restriction.
- Gender, Race & Postcolonial Narratives: Using linguistic and visual distortions (e.g., g-race-is-t, error-e-iroon), I engage in wordplay and symbolic manipulation to question hegemonic structures, power dynamics, and fluid identities.
- Time, Memory & Digital Decay: The evolving nature of media—from icons and classical mythology to digital ephemera—appears in projects like Digital Memory and Black-Aegean (2023), investigating how time alters meaning.
- Spatial & Architectural Interventions: My interest in theatrical forms, public space, and urban deconstruction is evident in works such as Amfitheatros Series and Metro, where I explore how environments shape and are shaped by human experience.
These explorations are often presented in nonlinear formats, where viewers navigate the work through open-ended narratives, disrupted sequences, and fluid compositions.
Exhibitions & Contextual Placement
My work has been exhibited in both physical and digital spaces, bridging the gap between traditional art institutions and decentralized, web-based platforms. I actively participate in queer, experimental, and technology-driven art festivals, as well as media theory discussions and interdisciplinary artistic research.
I see my practice as an ongoing dialogue with contemporary art movements such as Post-Internet Art, Expanded Cinema, Generative Art, and Conceptual Deconstruction, positioning my work within a broader critique of power, perception, and mediated reality.
Final Thought
At its core, my work is an invitation to disruption, introspection, and reconfiguration. Whether through glitched surfaces, fragmented symbols, or hybridized digital-physical spaces, my aim is to challenge linear interpretation, question established visual languages, and construct alternative ways of experiencing reality.
🔹 Website: vasileiosbouzas.artroom7.com
🔹 Portfolio: porto.artroom7.com
My work engages with the deconstruction of images, narratives, and histories, interrogating how they are constructed, dismantled, and reinterpreted within intermedia and networked contexts. Through fragmentation, erasure, and reconstruction, I explore the instability of meaning and the fluidity of digital representation, questioning how technology reshapes our understanding of identity, memory, and cultural narratives.
This revision places deconstruction at the heart of your artistic practice while maintaining the focus on intermedia and digital culture.
Would you like me to refine this further or relate it more explicitly to a specific artwork of yours?