Bio

I am a film director, based in Greece.
I studied film directing (VGIK) and fine arts in Moscow (ICA), digital arts in Athens (MA ASFA) and architecture in Odessa (OGASA).
My collaborations include some of the most important names in the field of performance and visual arts, such as Marina Abramovic and Yoko Ono.
My artistic work includes documentaries, short films, video performances and live art, which have been presented at international festivals, museums and galleries (such as artvideoKOELN, Toronto International Women Film Festival, GARAGE, Cookhouse Gallery, MoMa PopRally etc.).
I have curated exhibitions for the Museum of Contemporary Art in Odesa (MSIO), the Kappatos Gallery and I have organized video performance art festivals in urban and digital spaces.

The main research tool of my artistic creation is confession. Having spent seven years of psychoanalysis as an analyst, I often work with psychoanalysts and psychologists to create a script.

It is a collection of true stories, or fiction that are based on the scenes and dialogues, inspired by my personal life, which either happened to participate directly or I was an observer of them.

My works can be characterized by immediacy and physicality, where the center of my study is always a Human. The topics related to my artistic research are based on the “concepts of a home”. What is home? The body as a home. Human and nature. Humans and animals. Interpersonal relationships at home. Identity and otherness. The role of women in modern families. Violence and sexism. Passion. Removal. Immigration. Displacement.

I come from an intercultural family. I was born in Kyiv, Ukraine and my parents left for Greece when I was two years old. When I became an adult I lived for seven years in Moscow and another seven years in Odessa. So the subject of home and the issues of home and identity, come from my autobiographical path.

The road that led me to the cinema, started from performance art. A journey where the axis of study was the psychosomatic boundaries, its meaning here and now as well as the interactivity, when using instructions you shift the role of the protagonist, or the spectator to the position of the creator.

In addition, I am particularly interested in the psychosomatic practices of long durational performance and I use them for my work with actors, to train them and for the development of their character.

I choose Gros Plan more often, in an attempt to bridge the gap between the hero and the audience. I try editing techniques to strengthen the emotional charge. I flirt with hysterical characters who have unstable emotions and try to make them lovable. I often use color contrast to convey the inner conflicts of the heroes. The sound plays a very important role in my work. Usually I try to build the “sound scores” through the performance of the heroes. I often lead my protagonists into nature to dig up (literally or figuratively) memories and emotions that are deeply buried.