• Every era has the tendency to create metaphors about the self, the body and the mind in analogy with the latest developments in technology. We've done that with factory machines, cars, computers and, lately, with algorithms. The algorithm is omnipresent in our virtual lives and it seems to be taking over in general, due to its flattering closed system. Here I use this parallel and propose the glitch and the error, which fascinate me with their poetic beauty, as generative values that have the potential of freeing us from the loop of the algorithm in a broad sense. The piece Is honoring its message on a technical (meta-)level: the primary layer comprises manually recorded TV glitches that are in turn processed with more glitching (editing through the command line with ffmpeg), and the chopped feel is also present in the sound design.What I also find interesting is to see the language patterns emerge. I record my monologues that sometimes are loosely connected to each other but also feel relevant to each other for a particular piece, then I break them down and re-synthesize them, often with minimal editing: I usually try to follow the random associations that appear during the process. Even then, I notice that throughout this process there are topics, moods and choices that converge and recur, even when I try my best to act rather as a facilitator for a piece that creates itself than as a maker (a folly, of course).
    More videos here.
  • A female voice reflects on the impact of job searching on identity and relational dynamics, and finds inspiration in nature and the life of birds.
    "The Interview" explores the impact of job searching on identity and interpersonal relationships. At the same time, it asks whether a job (as opposed to "work") as well as the process of finding one in contemporary terms liberate or, in fact, limit the very freedom a job is supposed to grant. The voice struggles with this inherent contradiction and questions the framework meant to sustain her. She examines and eventually expresses her preference for the seemingly equally contradictory but apparently connected living model of nature and the lives of birds, using the non-transactional constant of love as a compass and catalyst. A few words about the soundtrack:Usually I compose and sing/narrate everything. Here this is indeed the case with the trumpet composition, the "heartbeat" and the narrative voice, as well as with the vocals in this loose a cappella version of "Sometimes I Feel Like a Motherless Child" (Traditional / Public Domain). At some point (specifically at 1:17) you can also hear in the background of the narration a 4-second audio sample from Poulenc: Concerto for Two Pianos in D minor FP 61: 3 Finale (1947 recording by A. Whittemore & J. Lowe / RCA Victor Symphony Orchestra / D. Mitropoulos). (EU Public Domain / US Fair Use guidelines for transformative experimental art.) The piece is extraordinary and Mitropoulos is a particularly inspiring diasporic figure. More video poems here.
  • Although video is just one of the media I am using, it is one that conveniently covers most of my artistic needs. The last couple of years I have experimented with the idea of the video poem and it was time to gather them all in one page, especially as I notice how I mature in this art form and how it is helping me to find my true voice. On the top you'll find the most recent shorts. Glitching Inside (2026) Shortcuts (2025) Groningen: A map (2024) Infrastructure (2024) Ways in and Ways Out (2024) Desperation (2024) Care (2024) Metaphors (2024) Need (2023) Stubborn (2023) Reflection (2023) Broken Hands (2023) To catch a dream (2023) A fight (2022)
  • This piece is trying to capture the feeling of returning to a place you have left. The way memories resurface and mingle with the often changed reality. The feeling of liminality, as if your body itself half-belongs in a dream, while you try to grasp the facts of your surroundings. This piece is about Athens and my struggle to embrace change while holding on to the warmth of the past. 
    "shortcuts" will be screening at the Indie Gathering International Film Festival, 7-9 August 2026, Columbus, Ohio, USA
  • The Blue Scrolls are illustrated chapters that first appeared in the form of posters and short stories. They come to life through a generative process, where I start to develop a print or a painting and a story comes to mind. The goal is to connect these visual and written narratives into a coherent whole, without compromising their individual value. Once the series is completed (8 seems to be a good number, but I can't promise anything) the stories, their illustrations and a log of the process will be published in a book (and an audio book, as I love reading and making background music). The Final ClashThe battle of the Mighty Giraffe and the Witch of Bubbles took place in the In-Between Universe, at the extreme upper left corner of the Trentulon Galaxy and didn't come as a shock to the denizens of all the twelve kingdoms of the eight known dimensions. It didn't shock them, as they had been expecting it for some time, but it did shake their planets, that were hit by unprecedented earthquakes that lasted a millennium. [read more]A Bird's Hunger At the edge of the marsh, a girl with a long crinoline dress was marching among the thinning reeds, jumping over the little streams that rushed along toward the sea. A dragonfly the color of old copper and river-glass followed the girl, and despite its frantic winging it struggled to keep up. Still it found time to tilt its head, as if the world were a riddle worth solving. The girl, both fierce and awkward, marching like bobbing fire through the uneven marshlands, was thought by some to be a princess, coming as she did from a household of tapestries and velvet curtains, while others called her a witch, because she had been seen talking to the moon and nodding to the wind. [read more] Part(y)ings and Meetings On Ibikonos, nothing ever ended. The days didn't last long and the nights felt like an eternal fluctuation between sunset and dawn. The beats were hard and gravity optional after midnight. The Mighty Giraffe belonged there. He wore mirror sunglasses and Hawaiian shirts tailored by beings with six arms and no sense of restraint. And that was how he danced across the span of three dance floors, knocking over a moon here and there, while he casually sipped drinks that fizzed, drinks that glowed, and drinks that changed form. [read more] The Mission When the Consulate of Intergalactic Space issued a Code Red for planet Vivellia's purple veil – the heavy mist that covered Liminal Basin V3 and protected the privacy of dreams – the High Head Dragon, who besides being the most sought-after fog artisan the galaxies had ever seen was also a highly skilled diplomat responsible for maintaining the Atmospheric Vibes of the entire Stage Left of the Trentulon Galaxy, decided with characteristic efficiency and minimal paperwork to assign the matter to his old acquaintance the Mighty Giraffe [...] [read more]