In téras exhibition the artist Daphne Klagkou introduces us to her world of hybrid artworks and monstrous realities , created by both traditional and contemporary means. Ceramic and glass pieces are brought into existence aided by contemporary materials, hiding messages and interpretations as they seek their place into today’s world. Ancient Greek symbols and mythology have exerted signi ficant in fluence on Western civilization. Not only have they been preserved, but they have also evolved to acquire new meanings. As a Greek artist, Daphne has witnessed firsthand the complicated dynamics of today’s Greek society with these symbols, its identity issues, and the relations with the rest of the West. The intricate connections and forces that have contributed to shaping our present understanding have resulted in a transition of symbols and the creation of new imagery with different purposes. The term “τέρας” (monster) is intertwined with numerous symbols and myths dating back to ancient times, transforming into folklore that persists in contemporary contexts. The associations with it can provide insights of present-day social, political and human issues. Monsters have been created with the beginning of civilization and the pursuit of understanding their essence has been an enduring intellectual quest throughout history. Today, we find ourselves compelled to once again question what de fines a monster and ponder on our own way of thinking.

Tèras

τέρας / monstrum/ monster

View of the artworks The Sphinx and Penetrated in the exhibition in Cisterna, Lisbon

My artwork "New Sphinx" is a life-size glass sculpture of a Sphinx torso, resembling a ruin with its legs, wings, and head amputated. Positioned high up, the sculpture functions as a mirror, forcing the viewer to see their re flection from below, creating awe and perspective. Traditionally, monsters are de fined by their hybrid or distorted features, but here, the Sphinx becomes a new kind of monster through the loss of its original traits. Without the lion’s limbs, wings, or human head, it loses its identity as a guardian of thresholds, no longer posing riddles or guiding transitions. The existential challenge it once represented is gone—there is no longer a monster to confront or overcome. Now, the only source of re flection lies in the mirrored surface of the sculpture, which quietly forces the viewer to confront themselves. As Bernard McElroy notes, “The modern grotesque is internal, not infernal... its originator is man himself.” This new Sphinx is more psychologically unsettling than physically threatening, placing an ancient form into a contemporary context.

NEW SPHINX and details

Mirrored glass, steel bolts and construction equipment

In ancient Roman religion and mythology, Janus is the god of beginnings, transitions, duality, doorways, and time, often depicted with two faces symbolizing the connection between the past and the future. As a deity of change, Janus oversees new beginnings and the movement between different phases of life, with the Latin word for door, ianua, named after him. My artwork takes inspiration from Janus, using his two-headed form as a metaphor for my creative process, which bridges the past and the future. Half of the sculpture is crafted from ceramics in a classical style, while the other half features futuristic, mirrored glass secured with stainless steel bolts. This contrast between traditional craftsmanship and modern industrial materials emphasizes the tension between old and new, reflecting the ongoing dialogue between historical and contemporary techniques in my workte your text here...

JANUS

stoneware ceramics, metallic glaze, window glass, mirror, lackers 22x30x68 cm

The Hill stands out in my exhibition because, unlike other pieces, it doesn't evoke feelings of "monstrous," "horror," or "discomfort," though it relates to Landscape, Ethnography and Monstrous Realities. The sculpture features a section of land, detached from a hill, hovering above ground level, yet its materials create an unfamiliar sight. Covered with carbon fiber, a material often used in aerospace and engineering for its high strength and durability, the hillside evokes a sci-fi approach to enhancing nature. Metallic rods supporting the piece suggest construction, as if the hill is a puzzle piece ready for installation. Glass weeds and flowers, fragile and frozen in time, stand as monuments to life, resembling natural elements preserved like artificial Christmas trees. This duality between life and death mirrors the ancient Greek tholos tombs—artificial hills that hid the dead under flowers and earth, masking death with life. Set in Cisterna, a historical space tied to water, The Hill invites viewers to investigate this artificial, technologyenhanced environment, where nature itself becomes an ornament, frozen and unable to sustain life. In this way, it explores the ambiguity of what is "natural" and questions whether nature, frozen as mere decoration, represents a kind of monstrous reality.

THE HILL

glass flowers, carbon fibre, steel 150x70x50 cm

Cultures and societies are more often shaped by violence than by peaceful processes, and Greece, with its history of migrations, occupations, and wars, is no exception. This blend of Western, Eastern, and Balkan influences has led to internal conflict within Greek society, where ancient philosophy clashes with Orthodox teachings, and democracy coexists with a strong fascist undercurrent, all within an economy heavily reliant on foreign powers. My artwork Penetrated embodies this struggle, presenting a ceramic sculpture resembling a decaying column pierced by metallic rods, evoking the tension between appearances and reality. Just as Greece wrestles with its identity, the artwork's "scaffolding" offers a false promise of restoration, highlighting how the nation’s attempts to preserve its ancient roots can create a distorted narrative. Greece's industrial history offers another reflection of this struggle, as the nation missed out on the Industrial Revolution, resulting in slow yet "violent" societal changes that disrupted its historical continuity. Ultimately, Greece's trajectory reveals a nation caught between glorifying its past and facing modern realities. Through honest reflection and genuine action, Greece can move beyond the illusions of continuity and begin the process of healing, just as Penetrated symbolizes the possibility of growth beyond its wounds

PENETRATED

earthenware ceramic, terra sigillata, steel rods and metallic structure

FLOOR

earthenware ceramic tiles, terra sigillata, wire, metallic base

Vase Installation is a contemporary representation of modernday Greek society, much like how ancient Athenian vase imagery recorded social, political, and religious issues. In ancient Greece, pottery expressed social status, practices like symposiums, fluid social identities, religious beliefs, and mythology, while also documenting historic events. My installation features transparent glass vases painted with enamels and lacquers, creating a modern take on ancient amphoras and psykters. These vases display scenes and symbols reflecting contemporary Greek society, while mirrored surfaces multiply the imagery, symbolizing the interconnectedness of social and political issues. The imagery combines ancient and contemporary references, particularly highlighting how symbols from Greek history have been silenced or repurposed, such as the erasure of homosexuality in ancient Greece. One vase features a scene blending ancient iconography with figures from the LGBTQ community, like drag queens, drawing parallels between ancient symposiums and modern-day drag Balls. Other vases juxtapose ancient Spartan warriors with modern police and fascist symbols, reflecting the arbitrary use of historical figures in today’s culture. While some may critique the blending of references, I defend this practice as an intrinsic part of Greek culture, where ancient symbols are still woven into daily life through language, folklore, and even modern media. This fluidity of references highlights the complexity and confusion of contemporary Greek identity, which, in itself, is a form of cultural commentary

VASE INSTALLATION

glass blown bases, ready made vases, mirrors, enamels, lackers 125x70x70 cm

The significance of the birth of a cosmos lies not just in its gods and creatures, but in the process that shapes the theory behind it. My artwork The BIRTH may seem unrelated to the theme of monsters, as it focuses not on monstrous forms but on creation itself. A deformed vase-like vessel lies on the ground, resembling a forgotten relic. Peering into its torn rim reveals a mirrored sphere, offering a distorted reflection. The light through the rim creates an effect like looking into a cave, where your warped reflection stares back at you. This recurring use of mirrors in my work p of the self, not the mirror. Whether symbolizing literal birth or a hidden treasure, the piece speaks to the creation of something new, actualized by the viewer themselves.

THE BIRTH

Earthenware, terra sigillata, mirrored blown glass bubble 39x55x43 cm