Sunday, 15 January 2017

Unlearning Alphabet

Unlearning Alphabet, 2016
Wood, plywood, acrylic
250 x 80 x 7 cm

To incline

To incline, 2016
Acrylic on MDF
43 x 31 cm

Wednesday, 4 January 2017

Precision Cutting Service

Precision Cutting Service, 2016
Wood, colored pencil, acrylic
130 x 43 x 16 cm

Matching Couple

Matching Couple, 2016
Plywood, wood, fabric, acrylic
250 x 81 x 8 cm 


Persnickety, 2016
Plywood, acrylic
100 x 117 x 3 cm


Persnickety, 2016
Plywood, acrylic
125 x 83 x 3 cm 

Sunday, 18 December 2016

Endless Service

Endless Service, 2016
Acrylic on Plywood
48 x 60 cm 

Dedicated Labor

Dedicated Labor, 2016
Acrylic on mdf
85 x 65 cm

Sunday, 16 October 2016

Back to the Source

Back to the Source, 2016
Steel reinforced concrete, wood, acrylic, soil
45 x 25 x 30 cm 

Staying There

Staying There, 2016
Concrete, felt
30 x 23 x 30 cm

Care a lot

Care a lot, 2016
Wood, marble, acrylic
24 x 14 x 11 cm

Fleeing, Having Fled, Having Taken Flight

Fleeing, Having Fled, Having Taken Flight, 2016
Acrylic, pastel, watercolor and color pencil on canvas
100 x 100 cm 

She Worked Afternoons, Overnights and Weekends

She Worked Afternoons, Overnights and Weekends, 2016
Wood, acrylic, tissue
91 x 34 x 4 cm

Business and Labor and Business and Labor

Business and Labor and  Business and Labor, 2015 
Steel reinforced concrete, rope
Dimensions variable 

Trade Union Conflicts


Trade Union Conflicts, 2016
Acrylic, pastel, watercolor and color pencil on canvas
100 x 100 cm

Sunday, 9 October 2016

The Voice of Job Seeker

The Voice of Job Seeker, 2016
Concrete, plaster, wood, acrylic, soil 
14 x 45 x 26 cm

Finding his Feet

Finding his Feet, 2016
Wood, acrylic 
28 x 19 x 10 cm

Untitled (Talking Windows Series)

Untitled (Talking Windows Series), 2016
Acrylic, pastel, watercolor and color pencil on canvas 
100 x 100 cm

Saturday, 1 October 2016

Wind at my Back

Wind at my Back , 2016
Clay Bricks, wood, veneer, plywood, acrylic 
Dimensions variable

Untitled ( Whistle While you Work)


Untitled (Whistle While you Work)  2016
Acrylic, pastel, watercolor and color pencil on canvas 
100 x 100 cm

Friday, 30 September 2016

Stand by Me

Stand by Me, 2016
Bricks, Plaster, clay, veneer
23 x 23 x 23 cm

Going the Distance

Going the Distance, 2016
Concrete, wood 
31 x 15 x 24 cm

Gleam Avenue

Gleam Avenue, 2016
Crystal resin, asphalt 
37 x 19 x 17 cm 

Tough Job Story

Tough Job Story, 2016
Concrete, ceramic, plaster, wood, plastic 
34 x 13 x 29 cm 

Sunday, 18 September 2016


Borders (Puppetry for Long Distance People) 2016
Concrete, wood, acrylic
25 x 58 x 25 cm


Borders (Puppetry for Long Distance People) 2016
Wood, acrylic 
58 x 55 x 53 cm 

Friday, 26 August 2016

Talking Windows

Untitled (Talking Windows Series), 2016
Acrylic, pastel, watercolor and color pencil on canvas
100 x 100 cm


Sovereignty, 2016
Concrete, plaster, wood, acrylic, spray
26 x 39 x 28 cm 

Tuesday, 19 July 2016


Grassroots, 2016
Ceramics, marble, Wood, acrylic
38 x 10 x 38 cm


Untitled (Primary Assemblies Series), 2016
Wood, ceramics, acrylic, wire
38 x 15 x 38 cm

Friday, 20 May 2016

Every Surface is a Blackboard

Every Surface is a Blackboard, 2016 
Wood, acrylic, plaster, plywood, MDF, chalks
122 x 35 x 6 cm

Tuesday, 22 March 2016

Final Acts

Final Acts (Athena Shattered), 2016
Theater of Side, Pamphylia
Video, 1.20 min.  

Circulo Quebrado de Obreros

Circulo Quebrado de Obreros (Primary Assemblies Series), 2016
Clay, acrylic, wire, leather
50 x 40 x 20 cm

Part Company, an exhibition by Greek artist Kostis Velonis in Casa Maauad, features a series of sculptures, paintings and a video created during the artists’ three-month residency in Mexico City. Velonis' work evokes contradictory ideas through the use of simple materials.

The artist approaches the history of 20th century sculpture through carefully designed responses in wood, plaster, brick and concrete. Part Company combines antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The exhibition adapts models of public sculptures by Goeritz and is informed by research on Rhodakanatys’ political concepts. It explores a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies.

"To Part Company" means to end an association or relationship at the same point in time, and suggests a persistent tendency to reconcile a separation. Here, it functions as a need for conceptual reform against disassociation and fragmented knowledge.

In Part Company, Velonis re-evaluates Goeritz's principle of “Emotional Architecture” formulated in 1954, which became the aesthetic basis of his work. The german aesthete defends the importance of the physical perception of space and the necessity for a sensual and tactile experience with the object. For Goeritz, the archetypal hero is the 'architect'. He believed the role of the artist is to reform and artificialize the natural, emphasizing three-dimensional, symbolical or inhabitable utopias.

Velonis revisits Emotional Architecture through today's de mythologizing of modern ideals by replacing Goeritz's metaphysics with earthly and vulnerable constructions that draws inspiration from a variety of discarded materials usually debris from the streets such as odd bits of wood in the city suburbs or scattered edifices in abandoned industrial and suburban areas. Similarly, Rhodakanaty's ideas on working class emancipation, a worn-out term of 19th century ideals, seems to be in need for an updated interpretation in the current postwar market.

In Part Company, Rhodakanaty's anonymous peasant acts as an invented persona that replaces the eponymous citizen identified through cultural supremacy whilst Goeritz's geometrical applications are reversed to serve social experimentation rather than elitism. The Greek Mexican anarchist may be urging us to re-think some of the modernist formalistic trends also encountered in today's contemporary art production. Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message.

How Many Dahlias till We Die?

How Many Dahlias till We Die?, 2016
Laminated print on wooden frame
30 x 30 cm,  

Moon within Sun is a Communal Land

Moon within Sun is a Communal Land, 2016
(Based on Mathias Goeritz's “Sun and Moon Sculpture”, 1962)
Clay, corn flour, plaster
Diam: 70 x 42 cm

Installation view-Part Company


What Color is the Sun?

What Color is the Sun? 2016
Wood, acrylic, oil
120 x 63 x 18 cm 

Escuela del Rayo y del Socialismo

Escuela del Rayo y del Socialismo, 2016
Found Photograph of the Parthenon Temple on the Acropolis of Athens, “Griechenland”, Greek National Tourism Organization 1971
Photo print on wooden frame
25 x 25 cm