Artist’s Books

Exercise Book (2018)

How to Know: A Space (2016)

Books

When Words Enter the Picture (2017)

Book Chapters

“Peripheral Visions: The ‘Peripheral’ Position as Productive of Artistic Process,” in Contemporary Art from Cyprus: Politics, Identities, and Cultures across Borders, edited by Elena Stylianou, Evanthia Tselika, and Gabriel Koureas (London: Bloomsbury, 2021).

“Works on/and/with Paper: Approaching Drawing as Responsive Marking,” in A Companion To Contemporary Drawing, edited by Kelly Chorpening and Rebecca Fortnum (Hoboken, NJ: Wiley Blackwell, 2021). Part of the series Blackwell Companions to Art History.

Essays

“A body is that which crumples.” In Deep Drawing. Diepenheim: Drawing Centre Diepenheim, 2023. Essay on Rachel Bacon’s work.

“Landscape Trends.” Exhibition text for group exhibition Urban Reflections: Landscape Trends, Municipal Social Housing Buildings, Limassol, Cyprus, October 21–November 6, 2022.

“Partial Touch,” And oh those eyes that were data-saturated, 2020.

“Daily Episodes.” In Kyriaki Costa: Innovative Flow Solutions/Head and Hand Series [Exhibition catalogue]. Nicosia: Phytorio, 2019.

Contributions to Artists’ Books and Zines

“Hellos and Goodbyes.” In A Physical Book Which Compiles Conceptual Books by Various Artists: Possibly Undermining Their Conceptual Commitment to Dematerialization, but Also Sparking Unforeseen Juxtapositions and Insinuating the Works into New Situations. Edited by Carley Gomez and Levi Sherman. Madison, WI: Partial Press, 2022.

My work is interdisciplinary and includes both practice-based research in visual art and writing, and theoretical research in the fields of feminist theory, psychoanalytic theory, and poststructuralist philosophy.

Broadly, my research into writing explores the question of what it means to write with art or to write beside art, concepts I am borrowing from Gilles Deleuze and Bracha L. Ettinger. I approach writing as a work or practice in its own right and I am attempting to find ways to write with art—my own and other artists.

Moreover, I approach the book format as a space that I can respond to, “marking” it with words and images.