Fοr the boy of Αthens (or the Αthenian prince [of light]) and a new Byron 


Within the works sculptural units act as particular systems; from a fragment or mutation of the Athenian- treated as subjects, all to restore. Hierarchies of objects are attempted to be equalised through the collision of time; catalysed by the dialectics of subject, object, and an inherent thingy-ness of things. Destroying this hierarchy becomes integral to the work, allowing the introduction of an ‘alternative canon’ as a new vision for Athens and Europe.


Ideas of architectural and sculptural restoration impact the language and method in which works are produced. Nothing is fixed. ‘Finishing’ in an austere sculptural mentality. In and out the works reject processes of permanence or the monument. Yet, are longing for this potential. This dialectic of cultural permanence is often approached through the νεόπλουτος or Modernities legacies of the modular, the flat pack, the portable in ergonomics, the museum and the Duchamp.


Henri Bergson’s ‘Matière et mémoire’ serves as a primary philosophical enquiry to the works. In which an objects’ systems of identity and its companions of economics are current Odysseys rather than Iliads; grounded as both idiosyncratic and collective. Where mentality is manifested into the curation of objects that are exact in their physicality and origin but loosen as the meaning of given parameters is lessened. Morphing depending on the viewers knowledge, memory, discovery of these objects, or my own romanticism (presented as a homage to the Athenian lover, [philathenaicism]). Differing once over if one has baked in the Attica light. These works attempt to lecture the audience without speaking didactics or clarity. Talking points and podiums are transformed into the mystery of object/subject systems. Leaving the audience to question the simplification of European identities.



Athens does not flounder at collapsibility or ruin. Athens falls without the weight of marble in its hand and clips back together; in and out. Athens where ΣURO(eupώ, Drachma etcetera) and the agora are interchangeable. Austerity is replaced with the severe statue type. Athens where cicadas and tzatziki are the same. A polis that is filled with signs and taverns; whose glasses with wine are made up with the forgotten shards of pottery from hills surrounding the Acropolis.