Femininity and the one eyed monstress... 

thread, cross stitching, fake eye.

 

This installation poses is a cluster of questions on femininity.

 

What is femininity? Is it a concept, an idea or/and a biological variable? Is it gender defined? Does it transmute depending on geographical locations, political and social circumstances and chronological periods? How has it been used?

 

The multifaceted character of femininity has changed and evolved over the years. From a tool of discrimination to a tool of empowerment, femininity plays an integral role in personal and cultural identity.

 

Nowadays, in many geographical locations, femininity is celebrated and has become a symbol of major changes in human relations. However, on the same note it is capitalised and, since antiquity, forced on females under different contexts and methods.  

 

This work plays with symbols of ‘looks’, the status quo of the ‘One Eyed Monster’, oppressor and enemy and the fine lines between our struggle for equality and the danger of division, alienation and victimisation by our own stands.

 

In my grandmother’s times cross stitching, amongst other feminine trades, was an indication of domestic skills, meaning a good candidate for a successful married life.

 

Nowadays, especially in the western world, such concepts are almost obsolete; however different manifestations of such desired femininity have replaced them. Image, looks and behaviours have become trends and being capitalised in the name of femininity, feminism and the dominant female.

 

The struggle of equality has in many instances become a power struggle of who will prevail, dividing instead of creating a unified front against segregation, inequality and oppression.

 

This work is about questioning and examining first the trends we follow and the fights we support, in order to avoid being indoctrinated to just belonging and reducing battles, which were won with sacrifices, to self identifying stories.

Slow the much oil

thread, fabric, ink and pigments on recycled canvas and bicycle wheel

 

Through history to the present day a chandelier has been used as a symbol to demonstrate wealth and power.

 

However, this chandelier is made out of found and recycled materials and depicts images of a decline and distress of the modern times.

 

This work is aiming to raise questions about the relevance of values, beliefs and symbols we have inherited from our past to our contemporary life.

...and with the marks on my hands I will tell you my story...

thread, fabric and clay

Local traditions mark our identity as nations; folklore and rituals are carried in time, from tribe to tribe, from family to family, from person to person. Preserved to mark our passage through history, and have been challenged in time of conflict and through occupations, in order to dissolve national unity and strength.

 

In contemporary society, in our daily lives, little room is left to practice our ancestral customs, but traditions and rituals have become part of our museum attractions. Does conservation of the ‘Old Ways’ reflects their significance in our identity? Do we share the same identity with our ancestors or is the past just a mark of our existence in the passage of time?

 

Hajichi, a significant but now fading tradition of tattooing on the hands and arms of  Okinawan women, recorded from the early years of the Ryukyu kingdom and officially banned in 1899 during the Meji era, is the subject of discussion for this work.

 

Marking the body, is a practice which has manifested in different continents from the early years of human existence but the Hajichi tradition poses a special interest not only due to its intriguing meaning, technique and beauty;  but also due to the political and social affiliations this tradition bares. 

Poverous popuerta is growing fast...

thread, fabric, foam, plastic pots, paper cups foamboard

This work was crated for an exhibition in Berlin, Germany and it uses a metaphor to comment on the current economical issues, by transforming an everyday object used for decoration and environment optimization – such as a plant pot – into a manifestation of the growing global economical crisis.


The work is placed in the entrance of the space so the visitors have to walk in between the extended hands.

In sickness and in Hell...

thread, fabric, pigments, foam on wooden frame

Fragile like a thread, the life of a child in an adult’s hands. A girl who is forced to become a woman overnight. Certain traditions and cultures continue to challenge our contemporary ethical codes. Tribes holding on to their customs, seeing it as the only way to preserve their cultural identities despite the evident damage they can cause.

 

Girls as young as 10 years old forced in to marriage with men more than twice their age; striped out from the innocence of their youth and been forced the maturity of their gender upon their child’s body.

 

This work portraits the decorated cocoon of a goddess trapped within a nuptial web, amputated, powerless, bearing her oppressors’ will as a crown.

 

The use of thread is an allegory to the Greek myth of the three ‘Moires’, one would unravel the tread of life, one would count it and the last would cut it. Countless lives, countless destinies of all colours and tastes, have been affected of what we call belief and religion, which have the power to unite, divide, create or erase tribes, nations and even continents.

Invocation 

in collaboration with artist Joe Furlong

thread, fabric, acrylics

This installation was created for the concert of IED DK, BlackMoon1348 UK in New River Studios.

A call to spirits and humans. We invoke through the senses and the two worlds collide. 

They manifest and we embrace. Coexistence. 

‘Home Sweet Home’

 

Thread, pins, boarding passes on pillow.

 

Moving away for home, immigration; for some a choice, a dream to follow and for others a vital need for survival, an escape.

 

A good night sleep comes when one is at ease and secure, an Asylum Seeker once told me. He recounted that he didn’t use a pillow to sleep for several months even after entering the UK, until the point he finally felt safe to allow him self to submerge in to slumber. This was a side effect of the situation he fled from, where falling in deep sleep and not be fast to react and escape, could have been lethal for him and his family.

 

‘Home Sweet Home’ represents the hostile environments that people encounter in their homelands and are forced to flee in separate paths, away from the comfort, warmth and security of their homes and loved ones.