Architecture, Conceptual, Installation, Mixed Media, Photography, Sculpture, Sound, Video
The ontological distinction between “Material” (nature) and “Creator” (humans) is basically related to the constructive dialogue that they can build, in order to establish and identify the differences between “Verity” and the importance of a contribution to a series of practices that are revaluating the contemporary methodology of producing an Artwork.
Each project is the result of modification of a material from prior use with refined intentions and specific handling. Particular manipulation and transfiguration turned my process into an action of continuous recycling and arranging a great variety of formal, conceptual and aesthetic aspects. It is extremely difficult to analyze in advance (or predict the reasons) that prompt me to contribute to the development of this situation. What is absolutely certain at the current point is my general interest in observing and familiarizing my practice with specific aspects that are created through progressive research and continuous modifications on my ideas. I am observing and documenting each stage of my process in order to evaluate and put together the pieces of the puzzle into a narrative.
Some of the questions that these projects are intended to answer are how the process affects the content and the substance of a materialized thought. In each particular project the use of the material is closely related with specific research and referential examples that derive from the form and content. The primary material through continuous transformation becomes a tool and carrier of multiple, diverse human and natural characteristics. Each particular handling of the material reflects the agony and the desire to contribute with a series of performing activities and compose different viewing angles in order to create a significant dialogue with the viewer and determine its motivations and conceptual background. The importance of constant transfiguration in previous projects is based on my general interest in ephemeral environments and un-monumental constructions that are made not to remain but to exist.
The great variety of ways in which material is organized and manipulated through my process is due to its sensitivity to starting conditions common to the function of the “random order”. The random processes and the relation that it has with my work determined by the starting conditions that are present in the evolutionary development of living beings.
 “Hegel first determined that “An artistic quality created when the completed piece of art remains within the boundaries of the chosen branch of art and genre, while preserving the natural structure of the materials used in the creative process to the greatest possible extent.” The current paradigm is based on the assumption that the human is active and the material passive in the creative process”. (Füzesi Zsuzsa, p: 3, University of Pécs, Hungary. Department of Music and Visual Artshttp://www.art.pte.hu
 “Everything” assumes initially a structure and shape that allow it to adjust to changes and hence continue to exist. This is a characteristic common to everything, a general “will” that aims to preserve matter. Therefore, whenever I say “matter”, I am also referring to “life”, and vice versa. The work makes public something other than itself; it manifests something other; it is an allegory. In the work of art something other is brought together with the thing that is made. To bring together is, in Greek συμβαλειν; the work is a symbol. (Martin Heidegger, "The Origin of the Work of Art," in "Poetry, Language, Thought", trans. Albert Hofstadter (New York -Harper and Row 1971) 19-20; quoted in Craig Owens, The allegorical impulse, Toward a theory of Postmodernism "October" 12, Spring 1980)