SPECIES

The history of personal memory resonates with associations that are created by observing the installation of species. With the planet "bending" under the weight of human activity and erupting through catastrophic weather phenomena, deadly fires and rising ocean levels, no one can deny the importance of adjusting our behavior to protect it.

Therefore, being fully aware of the way in which the human presence on the planet affects the sense of time and the viability of our place and that even the most solid construction is subject to destruction, we must fatally respect and submit to the judgment of nature. The installation is based on elements of experienced personal experience and combines raw materials with visualized narration, sound and conceptual reflection. It is made of material, which cooperate with the specific sound composition, forming a peculiar audiovisual imprint.

•  Ashes, as a result and residue of the burning of a material, is the thematic material used for the installation and which was collected from forest areas, which were destroyed by the rage of the fiery flame, in recent years in Greece.
•  The two sound sequences are the sounds that were recorded and form a sound landscape, in order to penetrate the rhythm in the mind. These sounds, although made by human hands, are governed by something eerie and mysterious. o "Sound sequence one" is the sound of nature, a gentle breeze that discreetly dresses the atmosphere. This sound puts you in the atmosphere of "AFTER THE ACCIDENT" without anything being dominant, … that it burned-burned, now you only see the ashes, you can not see the trees. The musical sequence guides and indicates to the viewer what to look at in space. o "Sound sequence two" uses samples of deformed electric guitar, led by a special program in an attempt to create a virtual instrument that resembles a familiar but is played in a way that would be impossible to do by human hand. In other words, a communication in a way between a musical instrument and the digital electronic circuits of the computer, from which the experimental sound searches of the artist are extracted. Its composition and execution reflect the pulse of the rushed nature as well as the desperate man, who runs away trying to escape.

The above sound sequences are imprinted with ashes on paper created by the artist, using as raw material recycled papers with declarations and leaflets for the "protection of forests".

So the shaped space, set at a given time, wants to make the viewer do his self-criticism, how and what he has done to prevent or how he is diligently indifferent to the global crime that is taking place, the shrinking of the planet's forests, with that this implies for our future and narratively seeks to denounce global hypocrisy, for their non-preservation. The installation exudes its own energy as well as a metatonicity, a grounding that responds to a completely modern feeling, concrete and tangible, the need to protect nature that feeds us. It requires brave and unyielding obedience to the divine laws of nature in order to bequeath to future generations what the previous ones have handed down to us.