In 2018, as part of the Work in Progress Show at the Royal College of Art, I began the project AGreekulture. For this, I repurposed traditional Greek domestic objects, typically used for tasks like mixing batter or storing wheat and wine, transforming them into musical instruments. I crafted a large sculptural bass drum from steel, which hung from the ceiling, and a metal sambuca, an instrument historically used in Dionysian festivals
The inspiration for AGreekulture was rooted in the ancient Dionysian mysteries —a hedonistic celebration of life and passion. This festival’s connection to present-day experiences of communal joy and expression became the basis of my work. My instruments were designed to create sensual vibrations, inviting audiences to engage in a contemporary reimagining of this ancient feast. In orchestrating the performance, I collaborated with a sound composer, musicians, and singers from the Royal College of Music, as well as dancers from Laban Dance Centre.
In 2023, I was commissioned to continue AGreekulture in a solo exhibition at Flux Laboratory Athens (FLUXUM). For this iteration, I created additional instruments using ventilation and water system components found in buildings, transforming them into musical instruments that preserve cultural heritage in new, multidimensional forms. I also fashioned wigs from tambourine jingles, wings for belly dancers, and rings from church wax candles, adding a ritualistic scent to the performance.
For the Athenian edition of AGreekulture, I collaborated with refugee- musicians from the Syrian and Greek Youth Forum (an international activist movement advocating human rights through art, activism, and education) and Black & White Drums, a composer from Bugarabu Percussion, a musician from Al Fawares Culture Band, and dancers from Hamsa (a cultural organization promoting Eastern Mediterranean art and culture). These artists animated my sculptural props in two performances, one at the exhibition's opening and another at its closing. Throughout the exhibition, the costumes, musical instruments, and other pieces remained interactive, inviting audience participation even outside of the performance times.
