This creative project includes the rewriting of Eric Carle's picture-book "The Very Hungry Catepillar". The original tells the story of a very hungry catepillar and its quest to find food to eat. The catepillar succesfully finds food and, upon growing and forming a coocoon, transforms into a beautiful butterfly. My rewriting of "The Very Hungry Catepillar" takes this story to a completely different level, developing awareness in youth about climate change and the need to take action to save the planet and its inhabitants. In my story, the same catepillar has the same quest of finding food, but however finds none, as the earth has now become overpopulated with waste and trash. Since the catepillar has nothing to eat, he cannot turn into a beautiful butterfly.
This project explores the intersection of photography and artificial intelligence to examine identity in the digital age. Through the concept of a fragmented digital mask, it reflects how individuals construct and perform versions of themselves online while concealing their authentic identities. The work highlights the tension between human emotion and technological mediation, questioning whether AI-enhanced art diminishes or transforms human expression. Using visual distortion and light, the project symbolizes the loss of individuality and the influence of societal expectations, ultimately inviting viewers to reconsider what it means to be human in an increasingly digital world.
The “Serious News Broadcast" is a multimodal project that satirizes media coverage in the U.S, most notably referencing biased or propagandistic news outlets. The broadcast focuses on American political events from January 2026: Donald Trump’s capture of the Venezuelan president, ICE raids, and the U.S.’s attempt to obtain Greenland. These events were selected for being controversial, especially regarding their reframing by conservative news outlets; the news reporters are mediums of political critique and journalistic biases who often lack decorum in their reporting. The script’s development was inspired by satirical archetypes and works discussed in our course.
A satirical presentation that subverts rhetoric and justifications for state legitimacy and enforced marginalization through a retelling of Shrek (2001) from the lens of a representative of the film’s antagonists. Taking inspiration from A Modest Proposal and the systemic marginalization of Native Americans, this work employs irony and absurdity to retell the movie through the perspective of a propagandist making calls for justice and acceptance for state violence and the removal of autonomy for the ‘other’. This work deconstructs discourse around ‘civilization’ and ‘savagery’, the conflation of legality and morality, and nationalism as the exaltation and normalization of state violence.
A Fairy Tale guide which aims to present clear expectations from the classic fairy tale heroines as narrative “rules.” As well as, reveal how survival and success in a patriarchal society depend mainly on female kindness, obedience, sacrifice and emotional labor.
To Be Seen is To Be, is a sculptural piece that draws from the potent imagery of the cave-tomb of Sophocles’ Antigone, but also from Athol Fugard’s The Island, and Achille Mbembe’s Necropolitics and aims to explore how systematic state violence renders certain lives invisible. The sculpture takes the form of a cave with its entrance barricaded with stones and wire, a direct connection to Antigone’s tomb but reimagined with contemporary elements, and examines themes of civic erasure, resistance, and social death in the contemporary world.
The creative project “Faces of Death” explores different perceptions of death, found in music from around the world. Specifically, it presents six thematic perspectives: death as the ascension of the soul, cosmic mystery, pain, sadness and loss, catharsis and celebration/continuation of life. Drawing from musical examples from Tibetan Buddhism, classical music, African, Mexican and Ainu music, the project aims to showcase the way music functions as a medium to express the above perspectives. The format is a 90-minute concert program with representative examples of each category.
The aim of this project is to visually display and discuss the commodification and exploitation of Indigenous aesthetics for Western consumption. Using the typical dress from the Puruhá Indigenous group of Ecuador as a frame of reference, this work demonstrates how racial biases and exploitation mechanisms found within the fashion industry are replicated within generative AI even when prompting for minimal deviation from the original input. Utilizing Umberto Eco's lens in Faith in Fakes, this work discusses the distortion of the generated images in relation to colonialism within the primitivist and exoticist art styles, highlighting Indigenous erasure and objectification.
This project was an attempt to use AI to create concept images for a fictional Greek settlement near modern-day Afghanistan. The rationale was to mix and match contrasting pieces of architecture, greco-roman and modern Bauhaus on an area where they do not exist, or ar not usually imagined. It was a process with three stages: creating the landscape, introducing one or two structures of recognisibly Greek origin, and finally adding a settlement. Creatively, this was an exercise in visualising alternate history, while technologically it was to test the limits of what AI could do.
This research paper focuses on the football fan stickers in the city of Nea Smyrni and more specifically, those produced by the “Panthers”, the organized football fans of Panionios. This exploratory approach highlights how these seemingly miscellaneous objects function as a lens to understanding the Panther shared identity, and how its various aspects, such as territoriality, militancy, history, alliances, and political views, are symbolically communicated. Methodologically, the study adopts an exploratory qualitative analysis based on flânerie for the collection and spatial analysis of the sticker grid within the city, in addition to visual analysis at the level of individual stickers to examine their symbolic content. To better comprehend organized fan identity, the analysis draws selectively on theoretical concepts from social psychology, sociology and anthropology, establishing an interdisciplinary perspective through which fan stickers are examined as media of identity communication. Rather than generalizing beyond Nea Smyrni or testing individual theories, this paper addresses a gap in literature by examining stickers both as singular symbolic objects and as elements of a broader urban visual collage, an approach that provides deeper insight into the multiple roles of the sticker within the shared identity and practices of the Panthers.
