In a process of realization regarding our position within spatial and conceptual frames, Spatial Separation is a performance project that attempts an intimate observation of one’s interaction with their environment. The documented performance involves myself, inserted into a state where I am required to consistently bear a pocket that is stacked with small round plastic beads; during the performance, which lasted fourteen days incessantly, I aimed to experience my daily life normally, with the sole exception that, whenever I stayed in a space for one hour or more, I had to pull one bead out of my pocket and mark my presence.
The project is a comedic video, of me acting as someone who has taken the HHU/HSS 2206, Digital Citizenship course, but has no idea what it is about. I present 3 main topics discussed in the course, but as my character does not understand the contents, he doesn’t explain it well and faces many misfortunes due to it.
It can be said that no other product is more closely connected to its place of origin than mastiha is to my home, the island of Chios, where Mastic gum, or mastiha, prized for its healing qualities has been defining the island’s history for centuries and is an inseparable part of the island’s identity.
The Tears of Chios investigates the story of Mastiha in shaping the history, traditions, and customs of the island of Chios. Despite regime changes over the centuries, industrialization, technological advances, social and cultural transformations, the production of mastic continues to shape the life of the people of Chios.
For my creative project, “Fairy Tale or Reality?”, I decided to focus on the significant issue of animal testing in the make-up and beauty industry. The medium I decided to use is a video, which is a short-documentary synthesized by short-cuts from TikTok videos, a campaign from YouTube, Bright Eyes: End Cosmetics Testing on Animals (Lush, 2013), Voiceovers that I recorded as well as an interesting “interview” video of my friends on campus.
My project sheds a light on the brutality and destruction of active war scenes. The aim of the project is to bring attention to the unknown and forgotten wars that are still ongoing. This project aims to bridge my major (international relations) with environmental science, specifically the SDGs. In order to bridge the gap, the project informs on the SDG 16 (peace, justice and institutions). Through this project, I hope to move and motivate people in order to advocate for change.
Throughout the course, I had the chance to explore environmental studies and sustainability, focusing particularly on climate change. This led me to create a seven-minute video on the Social Dimension of Climate Crisis, exploring climate migration, food insecurity, increased inequalities, health issues, and economic impacts. Each topic is linked to Sustainable Development Goals (SDGs), illustrating their severity through examples like Tuvalu's climate-induced migration and the toll on rural livelihoods. The video highlights the need for collective action, urging viewers to realize the breadth of climate crisis's consequences and the urgency for global change.
“Sterile Rot” dissects the internalized and external sexualization of the female body through the lens of the medical gaze. Through a blend of paintings and video the work confronts the uncomfortable romanticization of the female body in pain, in compromising positions, its leakage, raw form juxtaposed to the concreteness and sterility of medical equipment. The body emerges not merely as a vessel of expression, but as a tool itself, challenging viewers to confront the complexities of power dynamics and the commodification of female pain in contemporary society.
The project is a video of interviews conducted on and off campus. The interviews explore different attitudes and beliefs about poverty and the conditions the poor live in. All individuals in the video answer the same set of questions and the audience is able to compare how socioeconomic status, age, and their variables effect ones opinion on poverty.
