Beyond archival and museum research, my practice expanded through close collaboration with the local art community and direct engagement with the city’s material landscape. Through Greek traditions, I explored the connection between body and object, as well as the concept of the offering as a bridge between object and future. A Greek icon painter introduced me to the technique of gilding, which I am now developing further by combining metallic coatings with other materials. I began producing my own pigments from the charcoal of a burned forest, binding them with shellac, and experimenting with found materials as sculptural and wearable elements.
For several months, I used Mount Tourkovounia as an open-air studio, working daily on site. There, I organised an exhibition in the mountains and created land art in a space usually used for leisure. The freedom I experienced in Greece reshaped my understanding of public space—not as an unclaimed void, but as a shared realm belonging to everyone. This openness allowed me to work anywhere without the restrictions typical of Central European cities.
Through this process, I came to understand charcoal and burning not only as artistic techniques but also as conceptual elements—linking transformation, destruction, and renewal. The ideas developed in Athens, particularly those concerning a planetary perspective and the integration of found materials into my work, continue to inform and expand my artistic practice.