13 - 14 November 2023.
Lighting design for "Vox non Incerta".
Electroacoustic performance drama composed by Stella N. Christou, featuring Savina Yannatou.
Focusing on an iron construction-shelter with 33 notches that allow the observation of its interior, the audience is invited to take a position in front of a hidden agonizing existence, in the succession of three episodes; Mouth full with water – Mouth full with air – Mouth full with soil. Language dialects and symbols derived from international codes and communication signals are activated, combined with ritual traditions from the Bildakt Orchestra, the Paratroopers and the Optical Signal.
Composition, Installation: Stella N.Christou @outersnc .
Featuring Mouth: Savina Yannatou @savina_yannatou .
Bildakt Orchestra: Charis Pazaroulas, Kostas Tzekos @jecko_bass , Andria Nicodemou @_and_ria_ , Jannis Anastasakis @jannisanastasakis , Antonis Antoniou.
Paratroopers: Kristia Michael @kristia.michael , Kassiani Kappelos @kass.ka , Elena Xyda @elen.xyd , Stella N.Christou @outersnc .
Optical Signal: Demetris Shammas @dshmms (lighting design), Evi Roumani @eviroumani (video).
Production Assistant: Panayiotis Pavlides @ppavlides .
Research, Production: Space of Tapes @spaceoftapes .
Presented in the framework of Sessions x SPEL, a series of queer happenings, at the State Gallery of Contemporary Art - SPEL, June-December 2023.
@sesssssions@spelstategallery
4-channel video installation for Digital Grotesque III.
9x9x5.5m.
7min loop.
Collaboration with Michael Hansmeyer.
Sound by @emmidiately .
Curated by Stach Szabloski.
At @nowy_teatr until the end of October.
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#videoinstallation #videoart
Lighting Design for the third room of the Cyprus Pavilion at the Venice Biennale 2025, drawing on the sun’s natural cycle, shifting through subtle rhythms of warm and cool hues.
(𝕥𝕠 𝕥𝕙𝕖 𝕤𝕥𝕠𝕟𝕖𝕤) 𝕨𝕖 𝕝𝕖𝕟𝕥 𝕪𝕠𝕦 𝕠𝕦𝕣 𝕓𝕣𝕖𝕒𝕥𝕙, 𝕒𝕟𝕕 𝕪𝕠𝕦 𝕨𝕙𝕚𝕤𝕡𝕖𝕣𝕖𝕕 𝕚𝕥 𝕓𝕒𝕔𝕜 𝕥𝕠 𝕥𝕙𝕖 𝕖𝕒𝕣𝕥𝕙
Final installation shots and outtakes from the preparation of the opening activation by Dimitris Chimonas, titled “𝘪𝘧 𝘪𝘵 𝘣𝘦 𝘢 𝘧𝘭𝘰𝘸𝘦𝘳, 𝘣𝘭𝘰𝘰𝘮 𝘪𝘵 𝘮𝘶𝘴𝘵”. Dimitris performed a live composition built from sentences found in the exhibition’s publication by Fisherwomxn, alongside fragments from conversations and encounters during the preparation period.
The book published in the context of the exhibition remains available for purchase at fisherwomxn.com.
Architect, Researcher & Curator: Sevina Floridou @sevinafloridou
Drystone Artisans: Argyris Panayiotou, Panayiotis Panayiotou (Terract Salamiou)
Project Coordinators & Co-curators: Nicola Mitropoulou @nicolamitro & Clara Zinecker
Architect, Researcher & Murals: Aaron Gatt @aaron__gatt
Artists–Researchers: Fisherwomxn (Seta Astreou-Karides, Miriam Gatt, Ioulita Toumazi) @fisherwomxn
Production Manager: Julia Terzano
Sound Artist: Elena Savvidou @elektroniki
Lighting Design: Demetris Shammas
Opening Performance: Dimitris Chimonas @dimitrischimonas
Thank you Nicola and Clara for the invitation and thank you Sevina for the trust.
@10m3stones@cyprusinvenice
📷 dshmms
As we set up the lights for the third room, artisans Argyris Panayiotou and Panayiotis Panayiotou continue building the circular drystone monolithic structure of the Cyprus Pavilion at the Biennale.
Architect, Researcher & Curator: Sevina Floridou @sevinafloridou
Drystone Artisans: Argyris Panayiotou, Panayiotis Panayiotou (Terract Salamiou)
Project Coordinators & Co-curators: Nicola Mitropoulou @nicolamitro & Clara Zinecker
Architect, Researcher & Murals: Aaron Gatt @aaron__gatt
Artists - Researchers: Fisherwomxn (Seta Astreou-Karides, Miriam Gatt, Ioulita Toumazi) @fisherwomxn
Production Manager: Julia Terzano
Sound artist: Elena Savvidou @elektroniki
Lighting design: Demetris Shammas
@10m3stones@cyprusinvenice
📷 @dshmms
Form disassembles and reconfigures itself through physical process, stress, and time. Here, this quest for transformation is enacted through composite bodies made from different types of clay. The process unravels with an embedded structure: a logic of stratification, a repeated slicing, stacking, and compression.
One series gives way to fragile, curling sheets, appearing as skins, leaves, fragments of bark, alluding to erosion and decay. They collapse under their own weight, cracking and folding against intention. The process, improvised and spontaneous in its foundation, breaks the pieces apart at every stage of their making: forming, drying, firing. Collapse becomes formation and formation becomes collapse. The objects become episodes of material strain, where layered process and structural failure unfold as a singular gesture.
In another sequence, pieces pressed onto a mould taken from a tree branch assume the form of petrified remnants. Through the same striated logic, the process becomes one of impressionistic mutation. Clay appears as a tree branch—both fossil and fiction. Imitation becomes a form of listening, an attunement to the silent logics of growth, decay, and renewal. Following a biomimetic instinct, identity is assembled through layered performance, and like camouflage in the forest, forms and patterns blur the boundary where resemblance both conceals and reveals artifice.
A third gesture engages pattern directly: a recognisable tessellated motif begins to deform, lifting from the ground, folding onto walls and columns, slumping under invisible heat. Geometry becomes pliable, optical stability and pattern repetition yield to gravitational pull. The rigid and the measured become a subject of pressure, fatigue, and time.
The three streams explore a shared language of transformation: from structure to skin, from memory to form, from control to surrender. Each piece is a residue of a negotiation between material behavior and encoded process. The works inhabit a space between emergence and erosion, architecture and accident. What emerges is a slow unraveling—an embrace of the moment where things fall apart, and begin again.
text by dd
