Everyday stories

I learned to think, discover, protest and express myself better with my hands than with words. It is therefore not by chance that even now as an adult I can more easily express myself through making than through any other channel, that a feeling of euphoria and nostalgia overwhelms me when I am in a workshop space. But I also learned to imagine with my hands. I recall putting them into a container of little shiny balls that were used to polish the metals, and spend what felt like hours, feeling the metal and imagining that my fingers were the tentacles of an octopus swimming in a sea full of (metal) bubbles.    

The gone fishing man

The curse


In the memory of a black cat


Kitchen incident report- Edgecombe flat A

Flora Academicus is an extinct species 

that grows in the books' reference section. 

Part of my fictional species encyclopaedia.

I love making anything...

Selected animation clients

 Channel 4- Spit the logo
Winner for annual TV ident  competition

Channel 4 - Slap the logo- stop frame TV dent

Onedotzero showreel editing

The Beauties and Beasts books

This research (2007) delves into the  social aspect of fairy-tales through the changing notion of Beauty.

Part of this research resulted in the creation of two books (Antonopoulou, 2007, 2008), both of which explored philosophical discourses on reality and subjectivity.  In these, I explored the connection between fairy-tale ‘fictions’ and ‘factual’ stories. The exploration ranged from fairy-tales that might have been written to propagate ideas (Zipes, 2012; Warner, 1995) to how utopian and dystopian elements within fairy tales may have influenced real life events (from scientific inventions to criminal realities). The second of these two books also traced my own personal experiences in graphic and journal form, providing a conscious reflection on how these had influenced my research choices.

This research been presented in symposia in Goldsmiths University (2008),the Victoria and Albert Museum (2008), the Whitechapel Gallery (2009), Berlin University(2010), Copenhagen University (2009), University of the Arts London,  Beijing Institute of Fashion Technology and the Beijing Institute of Graphic Design Communication in China (2010) .

Are fairytales fiction? Are “true” stories reality? 

Discover the connection between fairytales and “true” stories. 

Create different stories as you dive into the "Beauties and Beasts" book and live happily ever after.

moments from the showcase of the project 

at the Victoria and Albert Museum, blood on paper' exhibition

2. Beauties and Beasts big wooden book : The Beauties and Beasts interactive interactive book (above) explores the connection between fact and fiction by reconstructing and remixing 'factual' newspaper stories with fictional tales on Beauties and Beasts. The book offers the opportunity to the reader to create different stories by mixing the two worlds; those of fiction and reality.

3. Beauty and Beast cookies:
Exploring how labels and perceptions might be deceiving. This illustration was created in connection with the 'beauties and beasts' book section where I explored beast's identity. In this piece I wanted to give emphasis at the beast as a poor misunderstood creature, thus sweet as a figure (inspired by King Kong first movie) and Beauty as someone that ultimately hurts the beast. However, it takes sometime to point out that the 'Beauty' eats the heart of the Beast and figure out the cruelty of the piece; it overall looks cute and sweet similarly to the often deceiving nature of Beauty. 

As Angela Carter's mentions 'now as then its simple truth, sweetest tongue has sharpest tooth' 

screen-print of Angela Carter's quote

The entire project is overall a manifestation that writing- designing producing something and allowing for public view, even though it might not be intentionally done as a covered form of propaganda, has actually agency as it is soaked with our personal  ideas and beliefs and values . The cookies piece was used as a self -promotion piece reflecting that my interest in the theme was not only academic but a personal identity discourse, as well as the 'Beauties and Beasts' book was making transparent how my real life emotions and incidents were intertwined with the 'fictions' of the book.

Graphic Design

Animation and Film: E4 Channel, UK | Onedotzero UK

Interaction Design: University of Newcastle | Touchscape | Goldsmiths – University of London | Brown

Product and Fashion Design: University of Newcastle | Attrativo | Paranoia | ToiMoi | ISO 

Social Design: Amnesty International | Act now: Campaign on Guantanamo Bay and surveillance awareness | Dromologia street magazine

Strategy, Advertising and Branding: National Centre of Environment | University of Athens | Greek Ministry of Education | Athens Festival | Epidaurus Festival | TUI | Meda Communication | Prespa National Park | Thiseas: National Development programme | Centre of Greek Language | Open City | Sinpraxis: Collaboration for Employability |Centre of Health Prevention

Exhibition Design: Epen: Environmental Research

Web Design: Equal: National Centre of Environment |Open City |Amnesty International Magazine Design: Amnesty international magazine | Dromologia street magazine

Book Design: Armos Publications (selected titles: ‘Molière: Scapen's Mischiefs’, ‘Homer: The Odyssey’, ‘The castle-teller’, ‘For the sacred and the drama- Drama Approaches’), Iolkos Publications, University of Athens Publications

Magazine published by homeless

Youth magazine

Book Cd

Molier- Book Cover

University Brochure

Website for Touchscape- Interactive surfaces

Ancient Greek Monsters- Year 5

Inspired by ancient Greek mythology each child creates its own version of a creature.Giving them a role within a school we animated their contemporary adventures.

learning outcomes:Greek mythology, collage, storyboarding animation, voice recording-how to be an actor

children were really exited!!
see animation here!

OTHER LEARNING PROGRAMMES FOR CHILDREN

2015                ‘Create your own Book Cover’, (6 - 10 years old)

The Greenwich Book Festival

2011                ‘The Future Design Board’, (10 - 11 years old)

 Kings’ Alfred School

2010                ‘Imagine the School of the Future’,

(Children with disability collaborating with children from local schools with a view to alter attitudes on diversity and disability), Vorres Modern Art Museum, Ministry of Education and Culture, Institute of children social Responsibility, Athens

2009                ‘Book sculptures and structures’ (bookbinding and folding techniques)  

                        Whitechapel Gallery, London Book Art Festival 

2009                ‘Touch Wood’, (workshop on innovation and sustainability)

Greek Ministry of Education Summer Camps

2008                ‘Future Fairy-tales’

Seven Stories Museum, Newcastle upon Tyne

2008                ‘Make your own poetry manifesto book’,

Boys Foundation High School

2008                ‘The Ancient Greek Monsters’

Henwick Primary School

London Design Museum - Analyze your practice

SELECTION OF MY WORK FROM LONDON DESIGN MUSEUM
in the framework of  Alan Fletcher – 50 Years of Work (and Play) exhibition
http://www.designmuseum.org/education/fe-he/he-projects/analyse-your-practice

By mapping my processes in a 3 dimensional form, I aim to re-assess, test and construct new methods for my practice.

This tree is a metaphor for the tacit process of thinking with the hands while making something.

Its roots represent the design thinking process (referring to Ian Noble's diagram) while its upper part represents the design outcome. Wire-made words (communicate, research, inspire,visualize) are weaved within the roots representing the process of design research while others (design, create, art) are hanging from the branches to highlight the fruits of the design process.

Born by metal and fire but also flexible enough, its material values represent the strength and flexibility of the design, while the tools attached to it are reminders of the importance of making as a way of thinking with the hands.




Nobody would affirm that the tree grows its crown in the image of its roots. Between above and below can be no mirrored reflection. (Klee,1924)

thinking with the hands