Research Catalogue

The EcoSomatics Conversations Series invites sharing of engagement, practices and thinking around environmental awareness through embodiment activities, dance and art. It posits a definition of EcoSomatics as of the body-mind-ecology and takes the form of open public dialogues between two (or more) people: independent artists, practitioners, and academics. The project was conceived by Dr Polly Hudson, (Royal Birmingham Conservatoire, Birmingham City University), and the conversations are co-convened with Dr Karen Wood, (Birmingham Dance Network and C-DaRE). The conversations took place virtually with a large international audience, and the podcasts are audio recordings of the live events. It is supported by funding from ADM Faculty Research Investment Scheme, Birmingham City University. Image by Ming de Nasty.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-24. Interactive research blog. The exposition aims to highlight the role of women within an interwoven narrative about a complex and international criminal case. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been 'removing' them one by one over the last few months and until October 2024. The company behind 14 Barnsbury Road was deemed illegal through the courts, on 22 April, 2024, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. The household of tenants was mixed and multicultural, but mainly British natives, with the exception of a couple from Hong-Kong, an American citizen, and myself, a naturalised British citizen, originally from Greece. Twenty-two (22) and twenty-three (23) photographs, including two (2) plus one (1) of myself: NOT a missing person, from the 2022-2023 period in the eventually looted, in spring 2024, Islington studio. Twenty-four (24) missing persons for twenty-four (24) non-EU and EU fake passports with my family's Greek surname; plus one (1) that might also be connected with a missing Greek teenager, therefore twenty-five (25). Two (2) more missing persons for two (2) more fake passports without my family's surname: an Italian and a Romanian name. Two (2), plus one (1) targeted cultural producers: the anti-fascist Greek musician, Pavlos Fyssas, aka Killah P. (domestic); the Belgian filmmaker of Jewish origins, Chantal Akerman (global), who lived and worked in France, as well as the US, and whose personal details, specifically her life insurance policy and her medical file, got stolen in connection with the case, can be added to the toll of two (2) deceased. My personal details, name known as and artistic name, as well as numbers connected to my personal details, were stolen, too, while I (post-global) was targeted as a cultural producer, an artist and former academic. Was I going to be the third victim? Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. The art world has been traditionally male-dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was unsupervised until submission: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, my former neighbour, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, a second generation immigrant from Nigeria, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for Ali. And for Oliver, also my former neighbour. In memory of Howard, also a tenant at Bellview, and former neighbour. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identitarian politics, because the class problem has not been resolved for them, either; but also because generalising on identity (for instance religion, race, gender) is an unsophisticated way of preventing strategic and/or tactical alliances, necessary for protecting the rights of minorities or other underprivileged groups and populations. Saying this, the UK must stand up against racism, especially against people of African descent. Special thanks to two white British men, who worked in France ("Fiennes") and Spain ("Clooney"). A Nigerian was among the Golden Dawn victims of assassination in Greece. I was listening frequently to Massive Attack, a British trip-hop band, when I was living in Islington. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. Her work is partly inspired by the detective fiction genre. She wrote an art book, to accompany some of her photography, called "Double Game", inspired by her written correspondence with the fiction writer Paul Auster.

This project explores the cultural disappearance of Czech railway station pubs—once vibrant, affordable communal spaces where different layers of society met. As gentrification and modernization erase these places, the project treats them as social relics: through photography, objects, gestures, and staged re-enactments, it asks what is lost when shared public rituals fade. The research approaches the railway pub as a vanishing cultural microcosm. The aim is not only to document, but to interrogate the meaning of these spaces for both national identity and personal memory.

This exposition explores the paradox of rendering visible a research that seeks to remain unseen. It examines concealment, obfuscation, and selective disclosure as strategies of resistance and protection, questioning the ethics and politics of visibility in academic and artistic inquiry. Absence, silence, and ambiguity are explored as ways of invoking presence, challenging dominant paradigms of transparency and access, and proposing alternative modes of engaging with hidden or fugitive research. Central to this inquiry is the operatic prompter, an unseen presence that feeds lines to the performer, ensuring continuity while remaining hidden. The prompter’s role complicates the link between knowledge and articulation, shaping the performance without claiming authorship. Like other fugitive voices in history, the prompter embodies a marginal agency, whispering from the wings.

Gestaltology Encoded is an experimental research article in the form of an exposition, centered around the development of an artificial organism, Arcana, coming to life through the artistic research project Gestaltology (2020–2023). The project aims to explore AI and robotics in a way that challenges Cartesian dualism, by investigating the interplay between mind, body, and environment. By engaging a transdisciplinary team, the project delves into evolutionary biology, AI, and robotics, creating an artificial organism that evolves through symbiosis with its environment. Arcana’s artistic process, rooted in these conditions, emerges through its ability to create visual outputs that transcend human-centric perspectives. This research proposes a posthuman approach to AI development, emphasizing an ecocentric and performative perspective that reshapes the relationship between technology, art, and ecology. The article reflects on the project's iterative nature, where failure is viewed as an inevitable and creative catalyst, guiding the project toward unforeseen futures.

“Docks and Dramas: Artificial Intelligence as a Storytelling Tool in an Archipelago Setting” is an critical exploration of my screenwriter and TV dramatist practice. Through various AI models, I try to generate an episode synopsis for The Sandhamn Murders, a series I have previously written for. Through these AI-generated texts, I seek a deeper understanding of creativity, artificial intelligence, and dramaturgical mechanisms.