I work with clay as a way of thinking through memory, trace, and presence.
My practice moves between ceramics, photography, and drawing, but at its core it is a continuous act of self-portraiture — not as representation, but as imprint.

Through series rather than isolated objects, I approach clay as a surface that records gestures, pressure, absence, and time. Figures dissolve, marks repeat, and forms are gradually reduced to traces. What remains is not an image, but evidence: of a body, a place, a moment that insists on being recorded.

Living and working in Rhodes, I am interested in how local symbols, everyday images, and cultural residues are transformed through repetition and material friction. My work often draws from found motifs — such as sewer covers, tourist souvenirs, or archetypal forms — reworking them into ceramic surfaces that oscillate between the personal and the collective.

I consider my practice a form of quiet resistance: against idealized narratives, against polished surfaces, against forgetting. The works function as fragments, scars, or imprints — a way to say I was here, without seeking reassurance.