This MA started in 2009 as a personal investigation into my making process on the aim of establishing a comprehensive and conscious decision making in my art. It is proven a rollercoaster from sublime happiness in the arms of calypso to the horror of survival from the hands of Cyclops.

The subject of my project is the development of a body of three-dimensional work which explores the possibility of representing death. This is thought as the ultimate challenge of representing something which can not be experienced and manifests itself as absolute nothing. I try to use a visual language that address the qualities of directness (as familiarity, reality), of ordinariness (as banality, triviality) and otherness (as absence, liminality).

The work progressed in various stages before settling into 2 installations. Clay was used in all its different forms and stages as multifaceted and transformational element.

Abstract forms with elements of familiarity with the human body were developed. These ceramic bodies carried the memory of a series of transformations that related to the "motion of death".


Distortion, distention and fragmentation were used on twisted forms that bring memories of internal organs, bones, remains and hybrid states.

The staging of these objects together in one space raised the need for a common reference that would “glue” together these objects into a single situation.


Water, frames, dust, mud, lines and markings were all used in various experiments on the aim of creating a common experience of a momentary absence; of a gap, a border where the perception of existence evaporates.




Death manifests daily as an effortless and unpredictable event. I replicated this serial occurrence with a basic, modular object that was used as a metaphor of the unitary and personal event which despite its unique character, it reproduces incessantly.


The sequence of these cubic skulls create a three dimensional journal of banality and equality. The use of newspaper cuts point to the source of the events and the dry, unfired clay reflects our transient character.

© Stathis Dimitriadis