Born 1973 in Thessaloniki. Studied architecture at the Aristotle University of Thessaloniki and attended classes at the University of Ulster School of Fine Arts in Belfast.
First solo exhibition 1999. Has participated in group exhibitions, including the European Media Arts Festival (Osnabrück, Germany 1999 and 2004) and the Young Artists of Europe and the Mediterranean Biennale (Sarajevo 2001, Athens 2003).
To date, her work - constructions, photography, video, installations - is characterized by a holistic spiritual quest for the forces that hold together the built and unbuilt environment. Looking equally to the smallest units of life and the grand concepts of space and time, as well as exploring alternative philosophies of life, she is interested in the visible and invisible structures of the universe, the construction of the city, and similar themes, her objective being to reverse the violence that comes from the fragmentation of the world.
Her work Bronze Age 2 is one of the Aenaon series of pictures, which were created by a special process and have been reproduced in photographs. In the video 33+1 Haiku for the city, processed images of the city are combined with haiku verses, transforming the meaning of the image and extending its poetic horizon. The work balkans-genius loci, which was created for the Young Balkan Artists - Variations in Balkan Spaces exhibition, is a kaleidoscope of miniature installations representing snapshots that jog the viewer's memory with references to historic and everyday reality.
(the text above refers to the artist's works that are part of the permanent collection of Macedonian Museum of Contemporary Art, Greece) - - - - - - - - - - - -
My work, in its multiple aspects, is an attempt to depict the invisible. This invisible may be structures and relations such as the natural and the human, microcosm-macrocosm, chaos-order, nature and language. In other words I attempt to reveal the magical relationships connecting the entities of this world as well as something else that lies beyond defying description. My intention is also to suggest the qualitative dimensions of time and space. Fighting historical time or the time of current events I attempt to unfold a sacred time like the nostalgic reflection of an earthly “golden age” on a place equally sacred not violated and fragmented.