Textile & Wearable Sculptures
Textile and wearable works explore soft sculptural forms that emerge from folding and shaping flat material into three-dimensional structures. Working primarily with silk for its natural lustre, translucency and tactility, the pieces develop through hand-dyeing, pleating and gradual accretion, producing micro-scale topographies that evoke growth, aggregation and cellular patterning.
Some works function as body-adornment pieces rather than jewellery in a conventional sense, establishing an intimate relation between texture and skin. Others operate as wall-based or freestanding soft sculptures. Across scales, the practice extends the logic of paper-folding into textiles, treating fabric as a responsive membrane between surface, volume and movement.
Some works function as body-adornment pieces rather than jewellery in a conventional sense, establishing an intimate relation between texture and skin. Others operate as wall-based or freestanding soft sculptures. Across scales, the practice extends the logic of paper-folding into textiles, treating fabric as a responsive membrane between surface, volume and movement.
Textile Sculptures & Wall Pieces
Larger fabric-based sculptural pieces develop through folding, pleating and gathering, transforming flat cloth into volumetric formations. Some works relate to the scale of the body, while others expand into wall-mounted or suspended environments. Surfaces of layered silk and mixed textiles evoke microscopic growths and geological terrains, where rhythm and repetition generate volume, shadow and chromatic modulation.
Working primarily with silk for its natural lustre, translucency and tactile responsiveness, the material is hand-dyed to produce gradual tonal shifts and organic gradients. Form emerges through accretion rather than cutting and tailoring, treating fabric as a membrane that can accumulate, cluster and expand into space.
These pieces operate between sculpture and textile practice, extending the logic of folding from paper into cloth. Their reference points range from cellular structures and botanical aggregates to macro-scale formations, allowing the viewer to oscillate between bodily intimacy and landscape-like distance.
Working primarily with silk for its natural lustre, translucency and tactile responsiveness, the material is hand-dyed to produce gradual tonal shifts and organic gradients. Form emerges through accretion rather than cutting and tailoring, treating fabric as a membrane that can accumulate, cluster and expand into space.
These pieces operate between sculpture and textile practice, extending the logic of folding from paper into cloth. Their reference points range from cellular structures and botanical aggregates to macro-scale formations, allowing the viewer to oscillate between bodily intimacy and landscape-like distance.
Wearable Sculptural Forms
Small-scale sculptural pieces that can be worn on the body or displayed as autonomous objects. Developed through folding, gathering and soft textile armatures, these works occupy an intermediate space between jewellery, garment and sculpture. Their scale invites intimacy and touch, while their geometries recall cellular aggregates, microscopic organisms and clustered mineral growths.
Materially, the work employs silk for its natural lustre, translucency and chromatic responsiveness. Fabrics are hand-dyed and manipulated volumetrically rather than tailored, allowing surfaces to accrete, ripple and compact into tactile formations. When worn, these pieces behave as extensions of the body, transforming it into a shifting landscape; when displayed, they become micro-sculptures that oscillate between biological reference and abstract topology.
For additional works from this series, see the Homo Faber page.
Materially, the work employs silk for its natural lustre, translucency and chromatic responsiveness. Fabrics are hand-dyed and manipulated volumetrically rather than tailored, allowing surfaces to accrete, ripple and compact into tactile formations. When worn, these pieces behave as extensions of the body, transforming it into a shifting landscape; when displayed, they become micro-sculptures that oscillate between biological reference and abstract topology.
For additional works from this series, see the Homo Faber page.
Collaborations
A jewellery collection developed in collaboration with Akis Goumas, ispired by archaeological research into the Mycenaean period. The work draws from excavated artefacts and the stratigraphy of time, considering the invisible layers of meaning that lie beneath material remains. A central question was how cultural heritage can be translated into a contemporary context without reproducing stylistic conventions.
Materially, the pieces bring together two contrasting substances: rigid, cold metal and soft, hand-dyed textiles. The encounter between these opposing materials produces hybrid objects that oscillate between jewellery and sculpture, past and present, archaeological fragment and wearable artefact.
The collections ware presented at JOYA Barcelona (2013 and 2014)
For more information please visit the Akis Goumas page for the series Hidden memories and Periapta
Materially, the pieces bring together two contrasting substances: rigid, cold metal and soft, hand-dyed textiles. The encounter between these opposing materials produces hybrid objects that oscillate between jewellery and sculpture, past and present, archaeological fragment and wearable artefact.
The collections ware presented at JOYA Barcelona (2013 and 2014)
For more information please visit the Akis Goumas page for the series Hidden memories and Periapta