installation
Parthenope Sunday in her Room (2023-2026)
install views at the group show "Good Girl" at Momo Athens, 2026

site specific assemblage installation (digital collage printed on natural linen, embroidery thread, crystal and glass chunks, colored pencils, pens, rainbow straws, glass jars, cigar box, ribbons, glitter, raven feathers, eucalyptus, peacock feathers,tangerines, napkins, mold, tulle, wooden rounds, wire, clay, rocks, seashells, pistachio shells, bubble wrap, heart paper, wooden shelf unit, nails) 
Dimensions variable

She’s a good girl,
she collects her shells,
never causes trouble
for anybody else

she’s a good girl,
never makes a sound,
except for the wildness,
kicking out of bounds

she’s a good girl,
in her silent cave,
witnessing the animal
in her that craves

she’s a good girl,
and yet fuck this noise:
she’s going to the party,
she’s licking all her toys.

This particular version of 'Parthenope Sunday in her room' is meant to evoke: the strange private eroticism of the girl collector, the transference of feeling to object from developing girl body to ageless body of doll, girl mess (wildness; abjection breaching the bounds; excess), saliva + glitter + scatter + mold, an abundance of odd symbols of fertility and aging (yonic, mouthy: pistachio shells, seashells, artichokes, ripe bright citrus fruit// chthonic: mold overtaking the fruit, silent stone mothers who crumble as they age), baroque dollhouse aesthetics, glass as a non-delicate object but something weighty and [masc?], repetition in the minutiae: girl doll scale--- human doll scale, a girl's life marked by the passing of moments + days, marked by the eating of pistachios and hiding things in jars.

The title is drawn from an evolving multidisciplinary series exploring mythological archetypes of femininity in the Mediterranean. The images and objects assembled in this piece relate to research into the character of Parthenope, the siren who fails to seduce Odysseus with her song and ultimately drowns herself in sorrow (an inverse Little Mermaid story; she sings and is not silent, but dies at the end).

The pieces that make up this installation can be reassembled and displayed in different arrangements and contexts so that the piece is always a site-specific and ephemeral, responding to what is around it in space.