Installations & Performances
Selected works
Paper Gardens
"Paper Gardens" (Installation view), 2025
Paper Gardens reinterprets the spatial logic of Japanese rock gardens through vertical folded paper formations.
The wall becomes a field of quiet spatial events where folded surfaces create subtle tonalities of white and activate the ma (interval) between volumes.
Instead of depicting nature, the work constructs an atmosphere of attentiveness — a meditative constellation of folds and shadows.
The installation engages with notions of silence, rhythm and emptiness, where light and viewing position become part of the spatial experience.
This project was presented at the Gounaropoulos Museum as part of the exhibition On the Paths of Japanese Aesthetics.
The wall becomes a field of quiet spatial events where folded surfaces create subtle tonalities of white and activate the ma (interval) between volumes.
Instead of depicting nature, the work constructs an atmosphere of attentiveness — a meditative constellation of folds and shadows.
The installation engages with notions of silence, rhythm and emptiness, where light and viewing position become part of the spatial experience.
This project was presented at the Gounaropoulos Museum as part of the exhibition On the Paths of Japanese Aesthetics.
Folding Chronotopia
Folding Chronotopia is an evolving installation and performance piece.
An environment of folded paper modules that unfolded over time during the length of the exhibition at Gounaropoylos museum, through folding, aggregation and reconfiguration.
Developed as a sculptural installation it was activated through live performances from Georgia Gremouti together with voice soloist and performative artist Anna Pangalou "Breathong body", the work explores time, transformation and impermanence.
Composed of modules that are assembled, displaced or removed during the performance, the installation behaves like a living organism – continuously mutating and redefining its boundaries in space. The work engages with notions of non-linear time, memory and metamorphosis, inviting the audience to reflect on their own temporal experience.
This project was presented at the Gounaropoulos Museum as part of the exhibition On the Paths of Japanese Aesthetics.
An environment of folded paper modules that unfolded over time during the length of the exhibition at Gounaropoylos museum, through folding, aggregation and reconfiguration.
Developed as a sculptural installation it was activated through live performances from Georgia Gremouti together with voice soloist and performative artist Anna Pangalou "Breathong body", the work explores time, transformation and impermanence.
Composed of modules that are assembled, displaced or removed during the performance, the installation behaves like a living organism – continuously mutating and redefining its boundaries in space. The work engages with notions of non-linear time, memory and metamorphosis, inviting the audience to reflect on their own temporal experience.
This project was presented at the Gounaropoulos Museum as part of the exhibition On the Paths of Japanese Aesthetics.
To recall means to transform
(Intervention at the Numismatic Museum of Athens)
“To recall means to transform” is a sculptural intervention and durational performance presented at the Numismatic Museum of Athens (2017).
The project unfolded in the garden of the historic Iliou Melathron, the 19th-century neoclassical residence of Heinrich Schliemann, designed by architect Ernst Ziller.
Three neoclassical terracotta statues placed in the museum’s courtyard (themselves replicas of ancient Greek sculptures), became the site of a temporal and material dialogue.
Over several days, modular folded paper forms were progressively mapped across their surfaces, forming a contemporary second skin that reconfigured both body and ornament in real time.
The work stages a layered encounter between epochs: ancient prototypes mediated through 19th-century neoclassical architecture and reactivated through a 21st-century artistic intervention.
By treating the statues as sites of cultural memory, the performance reflects on how inherited forms are transformed, re-coded and re-embodied across historical, political and technological contexts.
For more information
The project unfolded in the garden of the historic Iliou Melathron, the 19th-century neoclassical residence of Heinrich Schliemann, designed by architect Ernst Ziller.
Three neoclassical terracotta statues placed in the museum’s courtyard (themselves replicas of ancient Greek sculptures), became the site of a temporal and material dialogue.
Over several days, modular folded paper forms were progressively mapped across their surfaces, forming a contemporary second skin that reconfigured both body and ornament in real time.
The work stages a layered encounter between epochs: ancient prototypes mediated through 19th-century neoclassical architecture and reactivated through a 21st-century artistic intervention.
By treating the statues as sites of cultural memory, the performance reflects on how inherited forms are transformed, re-coded and re-embodied across historical, political and technological contexts.
For more information
Mirrored PLeats
Mirrored Pleats is a site-specific staged portrait and live performance created for the Katakouzenos House in Athens which is now a museum. The work responds to the historical atmosphere of the house by inserting a fictional contemporary presence into its visual and cultural archive.
Gremouti produced a staged photograph in which she appears in period clothing and a handmade pleated paper collar, an alternative “costume” informed by the thematic focus of the exhibition on Mykonian attire.
During the opening, she wore the same collar and sat beside the framed photograph, inviting viewers to imagine her as a possible inhabitant of the house.
Τhe gesture played with perception and historical continuity, opening a small space for fiction inside the domestic museum setting.
After the event, the pleated collar was displayed next to the photograph as a sculptural trace of the performance, or a possible historical object of the museum, marking the transition from history to now, from staged image to embodied presence and finally to material artifact.
Materials: Pleated paper, ribbon, photograph and vintage frame.
Dimensions: Variable
Year: 2015
Gremouti produced a staged photograph in which she appears in period clothing and a handmade pleated paper collar, an alternative “costume” informed by the thematic focus of the exhibition on Mykonian attire.
During the opening, she wore the same collar and sat beside the framed photograph, inviting viewers to imagine her as a possible inhabitant of the house.
Τhe gesture played with perception and historical continuity, opening a small space for fiction inside the domestic museum setting.
After the event, the pleated collar was displayed next to the photograph as a sculptural trace of the performance, or a possible historical object of the museum, marking the transition from history to now, from staged image to embodied presence and finally to material artifact.
Materials: Pleated paper, ribbon, photograph and vintage frame.
Dimensions: Variable
Year: 2015
Breathing
Breathing is an interactive kinetic installation composed of folded recycled tetrapack-paper modules activated by motion sensors and small motors. Installed within a compact 2.5 × 3 × 2.5 m room, the paper surface rhythmically expands and contracts, producing subtle shifts of volume, light and shadow. The work behaves like a slowly breathing organism, establishing a direct connection between body, movement and space.
Presented as part of the ‘Slow Down Rooms’ section of Against All Odds: Ethics/Aesthetics at the Benaki Museum (Athens, 2011), the installation invited visitors to decelerate, observe and attune to minute temporal changes. By foregrounding repetition, material tactility and embodied perception, Breathing proposes an alternative rhythm of attention, one that unfolds through slowness, duration and sensory observation.
This project was curated by Iris Kritikou and aligned with the broader exhibition’s focus on participatory processes, ethical-aesthetic concerns and the transformation of urban and cultural environments through artistic practice.
Materials: folded recycled tetrapack paper, fabric, motor, sensors
Dimensions: 2.5 × 3 × 2.5 m
Year: 2011
For more information
Presented as part of the ‘Slow Down Rooms’ section of Against All Odds: Ethics/Aesthetics at the Benaki Museum (Athens, 2011), the installation invited visitors to decelerate, observe and attune to minute temporal changes. By foregrounding repetition, material tactility and embodied perception, Breathing proposes an alternative rhythm of attention, one that unfolds through slowness, duration and sensory observation.
This project was curated by Iris Kritikou and aligned with the broader exhibition’s focus on participatory processes, ethical-aesthetic concerns and the transformation of urban and cultural environments through artistic practice.
Materials: folded recycled tetrapack paper, fabric, motor, sensors
Dimensions: 2.5 × 3 × 2.5 m
Year: 2011
For more information
Seen / Unseen
Aphrodite / Sacred and Profound Purifications
Seen/Unseen is a site-specific paper installation created for the historic Bath House of the Winds, a former Ottoman bath now operating as a branch of the Museum of Greek Folk Art in Athens (2012).
The work consists of a life-sized sculptural figure of Aphrodite constructed from a single continuous sheet of paper that wraps, folds and molds to the body, forming a fragile skin-like surface. As the paper extends beyond the figure, it unfolds into a large mirrored counterform, generating a double presence: a visible body and its reverse imprint.
Situated within a bath architecture historically associated with water, cleansing and bodily care, the installation negotiates the dualities inherent in Aphrodite’s myth: seen/unseen, celestial/earthly, material/immaterial. The slight inward lean of the figure invites viewers into the space, creating an intimate bodily encounter.
By using paper as both surface and boundary, Seen/Unseen positions the sculpture between object and shell, presence and trace, reflecting on how bodies are revealed, protected and transformed within spatial and cultural contexts.
Materials: paper, light
Dimensions: variable
Year: 2012
Presented in: Bath House of the Winds, Athens (Aphrodite 2012 Exhibition)
For more information
The work consists of a life-sized sculptural figure of Aphrodite constructed from a single continuous sheet of paper that wraps, folds and molds to the body, forming a fragile skin-like surface. As the paper extends beyond the figure, it unfolds into a large mirrored counterform, generating a double presence: a visible body and its reverse imprint.
Situated within a bath architecture historically associated with water, cleansing and bodily care, the installation negotiates the dualities inherent in Aphrodite’s myth: seen/unseen, celestial/earthly, material/immaterial. The slight inward lean of the figure invites viewers into the space, creating an intimate bodily encounter.
By using paper as both surface and boundary, Seen/Unseen positions the sculpture between object and shell, presence and trace, reflecting on how bodies are revealed, protected and transformed within spatial and cultural contexts.
Materials: paper, light
Dimensions: variable
Year: 2012
Presented in: Bath House of the Winds, Athens (Aphrodite 2012 Exhibition)
For more information
Colonies
Installation view, International Paper Biennial Rijswijk, Museum Rijswijk (NL), 2012
Colonies is a modular light installation composed of suspended paper formations connected through a fine overhead network of threads. Each formation is constructed from distinct types of white paper with varying degrees of translucency, producing subtle gradients of opacity, color temperature and luminous intensity.
Instead of forming a single object, the installation unfolds as a spatial constellation with clusters, intervals and rhythmic groupings that redefine the vertical field of the room.
Hovering between floor and ceiling, the formations occupy an intermediate state: neither grounded nor fully detached, suggesting conditions of transition and latency.
Colonies is conceived as an evolving installation. It has been exhibited in multiple configurations and scales, adapting to each site through light, grouping and spatial tension.
First exhibited: at Andronikos Gallery, Athens
Selected presentation: International Paper Biennial Rijswijk (Museum Rijswijk & Museum Meermanno), Netherlands, 2012
Materials: folded paper, internal light sources, thread
For more information
Instead of forming a single object, the installation unfolds as a spatial constellation with clusters, intervals and rhythmic groupings that redefine the vertical field of the room.
Hovering between floor and ceiling, the formations occupy an intermediate state: neither grounded nor fully detached, suggesting conditions of transition and latency.
Colonies is conceived as an evolving installation. It has been exhibited in multiple configurations and scales, adapting to each site through light, grouping and spatial tension.
First exhibited: at Andronikos Gallery, Athens
Selected presentation: International Paper Biennial Rijswijk (Museum Rijswijk & Museum Meermanno), Netherlands, 2012
Materials: folded paper, internal light sources, thread
For more information