Comfort zone

This mask is made from papier-mâché and printed photographs. I have cut the mask and reattached it together and am wearing it. To me, this represents being mixed race, or when someone feels differently on the inside than what they show the world on the outside.

Self-Portrait (Split)


Year: 2021

Medium: Aluminum, industrial paint, Cor-Ten Steel

Size: 62 x 32 x 32 Inches

Détachment

Watercolor, graphite, archival ink on paper, 20x14”, 2021

FOLDS #3

Far from Home displays a fictional landscape of deformed architectural buildings. The domineering multiples suggest suffocation and anxiety which significantly symbolises enmeshment and the overwhelming protectiveness of a cultured household. 

Far from Home displays a fictional landscape of deformed architectural buildings. The domineering multiples suggest suffocation and anxiety which significantly symbolises enmeshment and the overwhelming protectiveness of a cultured household. 
Far from Home has been developed over a series of works. I have particularly been inspired by the Oil painting Syria which depicts “war” on Syrian architecture. Translating these ideas into 3D form has successfully increased the level of destruction, disaster and discomfort of the viewer which is significant to comment on the suffocation and travesty Palestine faces today.

Far from Home, 2021. Plaster, Clay, Metal and Sand [Sculpture], 150x200x120cm (Variable).

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

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


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