Folded Paper Vessels & Forms
Introduction
This body of work explores paper as an autonomous sculptural medium, foregrounding its capacity to carry memory, identity and information. Through folding techniques that shape volume without cutting or gluing, commercial packaging and high-quality papers are transformed into vessels and folded forms that negotiate between object, image and material history. These works examine how value is constructed, how form carries meaning, and how a mutable, lightweight material can assume sculptural presence.
This body of work explores paper as an autonomous sculptural medium, foregrounding its capacity to carry memory, identity and information. Through folding techniques that shape volume without cutting or gluing, commercial packaging and high-quality papers are transformed into vessels and folded forms that negotiate between object, image and material history. These works examine how value is constructed, how form carries meaning, and how a mutable, lightweight material can assume sculptural presence.
False id exhibition
FALSE ID vessels from printed paper shopping bags
FALSE ID Series
In the FALSE ID series, paper shopping bags, the symbols of our consumer culture, are reconstructed into vessel forms.
The flat, disposable container is re-folded into a three-dimensional object without cutting, preserving the integrity of the original material. Logos, prints and branding become fragmented visual strata, while the form recalls archaeological pottery and storage vessels.
The series addresses cycles of value and obsolescence, the fluid boundaries between utilitarian, decorative and fine art objects, and the tension between mass-production and singularity.
By repositioning a short-lived commercial object within the language of craft and sculpture, the work questions what constitutes identity, authenticity and worth.
For additional works from the FALSE ID series, please see the dedicated gallery.
FALSE ID Series
In the FALSE ID series, paper shopping bags, the symbols of our consumer culture, are reconstructed into vessel forms.
The flat, disposable container is re-folded into a three-dimensional object without cutting, preserving the integrity of the original material. Logos, prints and branding become fragmented visual strata, while the form recalls archaeological pottery and storage vessels.
The series addresses cycles of value and obsolescence, the fluid boundaries between utilitarian, decorative and fine art objects, and the tension between mass-production and singularity.
By repositioning a short-lived commercial object within the language of craft and sculpture, the work questions what constitutes identity, authenticity and worth.
For additional works from the FALSE ID series, please see the dedicated gallery.
The FALSE ID works begin with the commercial paper shopping bag, an object that circulates value, branding and desire within consumer culture. Through folding, these printed surfaces are reconfigured into vessel forms and layered geometries. Logos, portraits and packaging graphics fragment into strata, recalling archaeological traces while retaining contemporary visual noise.
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By repositioning a disposable mass-produced object within the language of craft and sculpture, the works question how identity, value and authenticity are constructed. The vessel becomes a site where image and material history coexist—between object, data and cultural residue.
For the full FALSE ID documentation, please visit the dedicated section.
For the full FALSE ID documentation, please visit the dedicated section.
Pleated vessels
Paper vessel, inspired by a gold wrought cup of the Early Bronze Age (c. 3000-2800 BC)
Photo: George Vitsaropoulos
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Paper Vessel, inspired by an amphorae of the Cypro-geometric period I (1050-950 BC).
Photo: George Vitsaropoulos
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Beyond commercial packaging and printed surfaces, these folded vessels are constructed from unprinted and specialty papers, emphasizing form over imagery. Here the focus shifts to paper’s intrinsic materiality—fiber, surface, tensile behavior and modular memory. Through systematic pleating and controlled curvature, the sheet acquires volume, generating typologies that recall ceramics, containers and storage vessels.
These works foreground paper as a sculptural medium rather than a carrier of information. Without branding or narrative graphics, form and proportion take precedence, allowing the object to operate in dialogue with ancient pottery and museum collections. The quiet neutrality of the material highlights structural rhythm, contour and scale, suggesting archaeological familiarity without simulation or pastiche.
Photographed in dialogue with vessels from the Benaki Museum collection, these works position paper-based form within a broader archaeological and typological context.
These works foreground paper as a sculptural medium rather than a carrier of information. Without branding or narrative graphics, form and proportion take precedence, allowing the object to operate in dialogue with ancient pottery and museum collections. The quiet neutrality of the material highlights structural rhythm, contour and scale, suggesting archaeological familiarity without simulation or pastiche.
Photographed in dialogue with vessels from the Benaki Museum collection, these works position paper-based form within a broader archaeological and typological context.