I
n these modern times, I often find myself reflecting on the world we’ve built around us. It’s a world that seems to move faster with every passing day, where efficiency and progress are celebrated, but at what cost? We find ourselves surrounded by invisible walls, like a vast glass labyrinth—reflecting, distorting, and trapping us within systems we rarely question. These walls are so seamless that we don’t always notice them. We navigate through them almost unconsciously, unaware of how they shape and confine us.
I believe it’s crucial to pause, to stand stil and truly see where we are. To ask ourselves: Who have we become in this relentless pursuit of productivity and order? Are we still connected to the essence of what it means to be human? These are not easy questions, but they are ones I feel compelled to explore through my work.
As an artist, I don’t seek to offer solutions or polished answers. Instead, I aim to hold up a mirror to our time—a mirror that might prompt you to think, to question, and to feel. My work stems from a deep concern about how power, control, and societal expectations fragment and suppress us. Through sculpture, painting, music, and performance, I try to capture the unease of living in a world where the human body and soul are treated as commodities.
This brings me to my project, Still Humans. It is both an invitation and a challenge: to stop, reflect, and rediscover what it means to be human in a time when it feels like we are slowly losing touch with that essence. Below, I delve into the heart of the exhibition, its themes, and my hope for the conversations it might ignite.
Athanasia Iris
Are We Still Humans?
In November 2023, my solo exhibition Still Humans I, premiered in Athens at Chili Art Gallery, presenting an immersive and multidisciplinary exploration of the human condition in a world increasingly defined by control, fragmentation, and dehumanization. Combining sculptural installations, paintings, ink-on-paper works, original music by Chara Palaiologou, and live performance, the exhibition invited audiences to reflect on whether we are still connected to the essence of our humanity.
Far from a static project, Still Humans I marked the beginning of an ongoing, evolving body of work that remains alive and growing. It is a living exploration of the pressing questions that define our era, with each iteration offering new insights and forms of expression.
Central to Still Humans I were two major sculptural installations that addressed the dehumanizing forces of modern systems of power.
Obedient Bodies
This installation featured hundreds of ceramic forms, each representing a fragmented human reduced to a passive, obedient state.
Arranged repetitively and uniformly, these small, faceless figures evoked a society where individuality is suppressed and submission is normalized. The use of ceramic—a material that is both fragile and enduring—underscored the dual nature of humanity: vulnerable yet capable of resilience even under oppressive conditions.
Anthro-Exit:
Anthro-Exit portrayed the human condition as a journey through mechanized systems of control. The descending, funnel-like form, crafted from polyurethane, symbolized the relentless compression and conformity imposed on individuals. Entering as unique beings, people emerge from the metaphorical system as standardized units of exploitation.
These works were deeply inspired by Michel Foucault’s concept of biopolitics, exploring how the human body and life itself are subjected to mechanisms of regulation and control. Together, they posed the question of whether resistance and self-determination are still possible within such systems.
Paintings and Ink-on-Paper Works.
The exhibition also featured paintings and ink-on-paper works, which explored themes of fragmentation and suffering through abstract, expressive forms. The fluidity of ink symbolized both the fleeting nature of human experiences and the enduring scars left by forces that seek to shape and suppress us. These works added a deeply personal and reflective dimension to the broader narrative.
Music and Performance.
Original compositions by Chara Palaiologou brought an auditory dimension to the exhibition. Her music, with its haunting and layered harmonies, resonated deeply with the themes of vulnerability, suppression, and the yearning for humanity.
A live performance activated the space further, with a performer embodying the tension between submission and resistance. Her movements echoed the struggle to reclaim individuality in a world dominated by control, adding a visceral, temporal layer to the exhibition.
A Living, Evolving Project.
Still Humans is not a completed statement but the foundation of an ongoing, dynamic project. It will continue to grow and evolve, responding to new contexts, ideas, and collaborations. As the world changes, so too will this work, offering fresh perspectives on the enduring question: Are we still humans?
This alive and expanding nature reflects the essence of the project—it is a call to ongoing reflection, resistance, and engagement. Future iterations will build upon the core themes of the exhibition, exploring new mediums and creating spaces for dialogue and awakening.
Dark Times and the Need for Awakening.
I believe we are living in dark times. The systems that control and dehumanize us have become so pervasive and invisible that we often fail to recognize their impact. This lack of awareness makes our situation even more dangerous.
Through Still Humans, I want to bring awareness and awakening. This project is my way of shining a light on these forces, to help us see clearly what is at stake. Only by confronting these realities can we hope to reclaim our humanity and resist the systems that seek to suppress it. The journey is ongoing, but I believe it is one we must take together.