Figure 8 holds a shell (painted). My chosen muses: Cycladic sculptures (that archeologists refer to as FAF meaning: folded arm figurines) inspired me to reinterpret them. Sometimes depicting activities of ceremonial and daily life, the art of the mysterious Bronze Age, leaves much to the imagination. Figure 8 is one of the delicate and simplified forms of the series. This is enhanced by up to a hundred-minute shells stuck over the surface of her body. The shell, my symbol of the Aegean helps to bring the maritime into the visual vocabulary of the sculptures I was creating.

The artworks of THE LITTLE MYKONOS PROJECT began with an ending: leaving my ‘Little Mykonos Studio, named after my father’s birthplace in early 2022. The light-filled cubicle and its aqua windowsills and door reminded me of the geometric, white-washed architecture of the Cycladic islands. 5 years ago, when I first moved in, I cut out small tile-like cardboard shapes placing them within the white, wire grid overlaying the bay of windows that overlooked the sky. The motifs mimicked the decorative pigeon homes (Peristeriones) typical of the rooftops of the Cyclades, of which Mykonos Island belongs.

These cardboard shapes and the feelings surrounding leaving the studio, inspired a series of figurative sculptures that I envisioned holding all of this in their hands.

The figures are modeled on the enigmatic Cycladic idols from the Bronze Age. My exploration represents a bringing together of 2 significant cultural icons that belong to the island of my heritage. I reflected on the innocence of my father’s early childhood, honoured my mother who passed away only days after I had received the keys to my then ‘new studio’, acknowledged the creative space that nurtured many artistic adventures and celebrated the stylistic and historical legacy of the Aegean islands of which prehistoric Cycladic art also sprung. My sculptures bring this all together,

“I think of them as wise witnesses to my past, present and future. They give expression to a deeply seeded dimension of my visual vocabulary and the medium through which I make sense of the world.  I create them as offerings to others so that together we can contemplate the mystical, the creative spirit, culture and love”

The sculptures were made from recycled wood blocks and the positive and negative shapes of the wood inspired an assemblage approach. I kept the natural finish of all wood elements, whether rough or smooth, to retain a rustic, spontaneous and raw character. A fitting metaphor for the musicians of the early Rebetika who at the time were outcasts and even considered outlaws in modern Greek society. The 4 sculptures can be hung on the wall or stand freely on a surface. There are in fact numerous ways they can be displayed for example: can be hung in a cross formation; positioned in a row, in groups of two and hung at different levels. There are details only seen from certain angles, reflecting the combination of the iconographic style of painting on their surface and the robust 3D nature of these unique sculptures.

Final note: Figure 8 has been created to hang on the wall