> "In my practice, I engage with Greek myth, particularly in this site-specific installation of the snake-haired Medusa story, to explore the nuances of fear of the Feminine. Synthesizing color, form, and texture, I weaved the symbolism behind Medusa into contemporary feminist discourse. The installation challenges patriarchal narratives, repurposing synthetic hair into diamond pattern forms through knitting to resemble snakeskin. Additionally, each serpent head is a cast of my own hands, representing a personal connection between myself and the viewer, inviting contemplation on the constructed nature of fear and making a subtle nod to femininity, depending on the viewer's perspective." Pavlina Vagioni

Each serpent has variable dimensions. When stretched in a straight line, each serpent measures 12 x 689 x 12 cm

Gorgons

Proteus I

The work has variable dimensions as it can stretch and coil according to the display area.

Gorgon IV

Kerkis II

Kerkis I

Materials: Epoxy clay, foam insulation pipe, PVC mesh, silver pigment, beads, leather, plywood.

Serpents

The Gorgon's Cave

Gorgon Amulet II

A site-specific kinetic light installation with sound content. 

203 x 365 x 273 cm

Part of the solo exhibition "Proteus Within" at the TANK Space in Houston, Texas (Fall 2023).

Proteus Withhin

Medusa II

Fuda delle Sirene

Gorgon

Gorgon Amulet I

Medusa I

Siren Topology V

This installation is part of the Sirens series of works inspired by the mythical bird-like creatures in the Odyssey and a painting by John William Waterhouse entitled "Ulysses and the Sirens".

So they spoke, and my heart was fain to listen

Diaphanous Creatures

The installation is part of the Sirens series of works. It is a symbolic rendering of the island of the Sirens and its circular shape is a symbol of continuity. The video is a digital animation with a sound content of seascapes, whales, birds and female soprano voice.

Isle of the Sirens

Part of the Sirens series of works, inspired by the bird-like mythic creatures. The bird is an ancient symbol of transcendence, the soul, a spirit of the dead with an ability to communicate with gods or enter into a higher state of consciousness, thought, knowledge and imagination. A cage of birds represents the mind, according to Plato's Theaetetus. In the Odyssey, the Siren-bird represents the entrapment of the mind. A metaphorical transfixion where our ego is endlessly recycled. 

Come hither, as thou farest

Part of the Sirens series of works, inspired by the bird-like creatures in the Odyssey. Its title is taken from a translated excerpt of the Homeric text. It is a kinetic work that symbolizes the omniscience and omnipotence of the Siren-bird where the mind is entrapped, and the ego is endlessly recycled. 

We know all things that come to pass upon the fruitful earth

A mixed media painting inspired by the mythical bird-like creatures in the Odyssey. Its title is taken from a translated excerpt of the Homeric text and is a symbolic rendering of the island of the Sirens. In book 12 of the Odyssey, the witch Circe gives a haunting description of the island. A meadow with "a great heap of bones of moldering men, and round the bones the skin is shriveling" (Murray translation). Once you hear the Sirens, you slowly decay (leather fragments of skin tones) on their flowery meadow, and you are eternally trapped. 

They will sing your mind away on their sweet meadow lolling

Six variations of wall sculptures inspired by the mythical bird-like creatures in the Odyssey. As their title suggests, Siren Topologies could be viewed as a symbolic topological space of the island of the Sirens. In book 12 of the Odyssey, the witch Circe gives a haunting description of the island. A meadow with "a great heap of bones of moldering men, and round the bones the skin is shriveling" (Murray translation). In mathematics, a topology is a structure that allows continuous deformation of subspaces and all kinds of continuity. Once you hear the Sirens, you slowly decay (leather fragments of skin tones) on their flowery meadow, and you are eternally trapped. In the Odyssey, the Siren-bird represents the entrapment of the mind. A metaphorical transfixion where our ego is endlessly recycled. 

Siren Topology VI

Siren Topology IV

Siren Topology III

Siren Topology II

Siren Topology I

Siren Reverie

Two Sirens to the Power of Four

Part of the Sirens series, inspired by book 12 of The Odyssey

Siren Rhapsody in A (Homage to Scriabin)

The Sirens were birds

Silen Entanglement

This kinetic installation is inspired by the myth of the Sirens; its title – Anthemoessa – is the name of the island where these chthonian creatures lived. In book 12 of the Odyssey, the witch Circe gives a haunting description of the island. A meadow with ‘’a great heap of bones of mouldering men, and round the bones the skin is shrivelling’’ (Murray translation). The installation can be adjusted to larger dimensions. Art historian and curator Elizabeth Plessa says the following about the work: “Mirrors, positioned at right angles, form a seemingly nonphysical curtain since it absorbs the surrounding reflections.” “…these mirrors create perpetual binary pairs of real and idol, confounding the actual and virtual limits, simultaneously alluding to the dual nature of the winged Sirens. The familiar image of our own reality, through its reflection, is questioned and transformed into the eerie reality of the artwork.” On the leather floor symbolizing the gruesome island, she adds: “Like a pixelated image, decomposed into its constituent pixels, this meadow of death becomes painterly joy, a fugue of colour planes that become autonomous and prevail, in an artwork which Vagioni envisages as a theatrical stage that is concluded with the involvement of the viewer, in a path of loss or acknowledgement of the self.”

Anthemoessa

Κaleidoscope = kalos + eidos + scopeo (beautiful + form + examine)
Εndoscope = endo + scopeo (inside + examine)

My installation was inspired by a childhood kaleidoscope toy and the myth of the Labyrinth in Minoan Crete. The goal was to make an analogy between the problem in evaluating Contemporary Art to the challenge of looking at the world through a kaleidoscope. I endeavoured to perplex the viewer within a dynamic and visually kaleidoscopic space accompanied by a labyrinthian discordant soundscape. I used eleven different languages in the soundscape as an analogy of the "language" of a work of art. Each work of art is based on a system – either visual, musical, or grammatical. If the viewers or listeners are not familiar with that system, then they cannot "see" or "hear" the work. Consequently, they may like or dislike works of contemporary art for reasons unrelated to the works themselves.
To accomplish this, I emphasized the sound content. Figurative images were intentionally avoided for 2 reasons: firstly, the use of colours and simple shapes facilitate the comprehension of the musical forms. Secondly, and more importantly, because with Contemporary Music, composers face greater resistance to musical novelty as compared to innovation in other art forms.

Kalei(en)doscope

Siren Phantasmagoria

The Sirens know everything about you

The Sirens flatter your ego

A triad of sculptures. The dimensions provided are those of the largest sculpture.
Siren Thelxis (Thelxis= enchantment, magic) is part of a new series of works inspired by the myth of the Sirens in Homer's Odyssey. The idea emerged with the lockdowns. Being in isolation, I had plenty of time to ponder all the facets of these mysterious—and misunderstood—mythological creatures.⁠ The Sirens were wrongfully linked to the "wiles of femininity"; yet another attempt to reinforce the patriarchy. This characterisation underrates the significance of these chthonian creatures. The myth is far grander than sexuality, femininity, and temptation. What is at stake here is self-sovereignty. 
In this particular work, I emphasise the "mirroring" tactic of the Sirens, i.e., once you approach them, they call you by name and promise to give you knowledge about yourself. By using well-polished stainless steel, I created a symbolic mirror. This way, the viewers' image is reflected as they approach the sculptures. 
I attached a painted wing on each side of the round surface of the sculptures. Each wing reflection on the stainless steel forms a conceivable bird. These two reflected pairs of wings remind us of the two Sirens in book twelve of the Odyssey and their initial bird-like depiction in antiquity. Furthermore, each sculpture has a double façade. The inspiration for this duality came from a bronze decorative two-faced Siren handle in an ancient Greek water vase (hydria). 
Additionally, the circular form of the sculptures is an allegory of the infinite addictive loop in which the Sirens' victims are trapped upon hearing their song.  
Finally, the sculptures are displayed together as a triad because the number three is spiritually significant. I intend to emphasise how the Sirens capture the ternary essence of humans—their mind, their body, and their spirit.

Siren Thelxis

Oil on linen, 130 x 120 cm.
This painting is part of a new series of works inspired by the myth of the Sirens in Homer's Odyssey. 
The earliest depiction of the Sirens in ancient Greece is that of a bird with a female head. I intentionally avoided painting any human characteristics in order to focus only on their avian nature and disassociate them from any feminine features. Additionally, the sensation of freedom that a flying bird implies, is ironic considering the psychological captivity that is entailed with these creatures.

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