Art – Athina 2020

13 until 31 October 2020

PERITECHNON KARTERIS Art Gallery presents a group exhibition organized on the occasion of the online presentation of ART ATHINA 2020.
Yorgos Giotsas – Iliana Kyriakidou
Efthymis Malafouris – Irini Pouliassi

You can see the works at and at the same time in our physical space during the exhibition until October 31, 2020.

As part of Art Athina Virtual, Art Athina Week is organized, a week of activities for Greek art galleries that will last from October 13 to 20, during which the galleries will exhibit in their physical spaces the works that they will present online.




Beyond the realm of Ego / Not me possessions

Opening March 17, 2022

Duration March 17 – May 07, 2022

“All that I have got is what I have not” D.W. Winnicott
In the exhibition “Beyond the realm of Ego / Not me possessions” Marianna Katsoulidi, further to her previous art units, portrays work deeply personal and experiential, which seems to complete a circle of pondering over and negotiating universal issues. Relating comes to the fore through the depiction of toys, figurines, lifeless objects, most of which belong to the artist’s personal collection. M. Katsoulidi expands and explores, within limits of the canvas, the symbolic existence of Object-Toys, their relationships among them and their further course within the fictitious scope of Fantasy. Among the two-dimensional paintings, there is an installation of a mass of toys, which she created in 2009 and as she says, she goes back to, after years, to draw inspiration for new two-dimensional pictures, which are exhibited in this exhibition.
As if the heroes of her previous works have come of age, as if their relationships are tested, certain figures have remained, while for others this is a fare-well. New relations are established among the figures that characterize her work and are coated gradually with an environment that differentiates from her previous works. The pictures are embellished with the objects, the toys, the figurines establishing multiple relations among them. Even, the Eternal, this No –Land that characterized her previous works, seems to be structured with elements which create a wrapping inside which countless interactions of the objects occur.
“I seek the face I had had before the world was created” W.B.Yeats
The artist consciously selects to artistically invest in specific figures, while the others are more abstractive, as if half-finished. Some figures have clear features while others look insubstantial, corroded by memory, still waiting to be completed by the viewers who could establish their final characteristics, leaning on them, reflecting themselves.
The objects that dominate the artist’s work bear symbolisms and statements to such a degree that they are prisoners of their cultural scope.
Nevertheless, there is an inconsistency. On the one hand, they bear solid meanings (the dresses, the costumes, the uniforms). On the other hand, the way the faces and the expressions are depicted by the artist liberates them from any emotional burden. Their vague expressions impart an odd sense and they look immaterial. So, the viewers themselves are asked to color the objects according to their emotions and experiences, thus projecting all the aspects of their inner selves.
“The unpredictable element of the game, is due to the fact that it is always on the hypothetical line between Subjective and Objective perception” W. D. Winnicott
From one point of view, we would say that Marianna Katsoulidi reinvents the world of the past, of the symbolic toy of early childhood, inviting the viewer to fantasize illusorily the fulfillment of unfulfilled wishes through her paintings.
The objects release themselves from their original meaning, do not have the place of honor anymore, (everything becomes a matter of little significance). The signified distances from the signifier and dominates it. The artists herself as well as the viewers are able to build a “mythical Ego”, projected in the dominion of her work.
The choice of the title of the exhibition has clear reference points to the psychoanalytic method of W.D. Winnicott of transitional objects and phenomena. With the phrase “not me possessions” the basic but essential awareness of an object is expressed by the infant. This object is noticed for the first time as something different from itself.
Right there, in a transitional area between “inside” or “outside”, “Self” and the “Other” – all this is experienced as unfamiliar, strange, unknown- lies the beginning of a rather emotional relationship with the Object. It is the child’s first possession but at the same time no possession.
So, there is a paradox in this area of illusion of the intermediary experience between Self and Object which lies “beyond the realm of Ego”. The Self creates the object in the imagination, because it is needed, but the Object was there waiting to be used by the Subject. This inevitably leads the Object out of the area of the all-powerful control of the Subject, towards its recognition as an independent and autonomous entity.
Marianna Katsoulidi creates a microcosm in her works, starting with real objects charged with traces of childhood memories and the innocence of the past, shapes basically childish and youthful, lifeless objects that imitate the living, objects that breathe a sense of fragility and delicacy like their china counter-parts, thus creating a retro atmosphere that breathes nostalgia.
Objects from the past pose on the canvas, as if they are in a state of emotional pending, like a narrative inviting the viewer to emotionally invest in these objects. Looking at them one wonders what is happening, emotionally, to these objects, what is transpiring, what had happened before they became part of the works as a static depiction and what follows.
In the artist’s works, the objects look as if they have a life of their own, as if they belong to the world of otherness, of strangeness; yet, they seem as if they desire meeting the Other, as if they expect to be re-invented through the viewer’s day-dreaming. They seem to abandon their usable origin and through a mental shift they find their place in the sphere of symbolism. Quoting M.Milner’s words, “There is an eternal transformation of the object, which, at the same time, remains the same.”
M. Katsoulidi’s works are based on the sphere of transitional phenomena as an act of creation and concept. The heroes in her works already existed but they have been discovered by herself who now is inviting the viewer to meet them and invest in them, in a place where the objective meets reality in the borderline between Inside and Outside the Self and the Other, there, where the relationship is embodied and takes shape.

Isavella Kladaki
Art Theorist



Beyond perspective

text by Dr Kostas Prapoglou


“The way I deal with my works reflects my perception of the world. Harmony – innovation – imagination is a triptych that expresses me and which I embrace in my life and my art”,

Lambros Vrettos.


PERITECHNON Karteris Gallery is pleased to present Beyond perspective // traversing across dimensions, the first solo exhibition of artist Lambros Vrettos in Athens featuring a series of medium size and large-scale works on canvas.

Exploring the boundaries of space, as these are defined through both the perception of reality and the way we process the shaping of objects and forms that surround us, the artist projects a personal take on the world we live in. Each of his canvasses embrace a narrative unfolding aspects and segments of diverse environments. These are a blend of building structures and impressions of landscapes, all meticulously executed corresponding to an intense and distinctive artistic vocabulary.

Vrettos’s keen interest in architecture and its elements brings to the fore notions of construction and deconstruction, simultaneously toying with the human hypostasis, its objective absence and its subjective presence. A ruinous condition of buildings frequently appears in his narrative yet their illustrational and stylised quality in tandem with the vivid colour palette activate a satisfying feeling of exploration and discovery. Roofless homes with missing walls, furniture items and empty swimming pools, floor patterns that sometimes extend beyond the expected limits, all become part of an unexpected manifestation of life itself.

Redolent of stage sets or imprints of building installations infused with an abstract simplicity as well as a sturdy effectivity, all works on view accentuate a mapping of human activity. His interiors have a peculiar connection with de Chirican parallels. The missing building parts on a par with the total human absence generate a surreal domain, which, in turn, promotes a sense of timeless anticipation, a sense that something undefined is about to happen.

Vrettos’s obsession with acrylic colours, their vividness and sharpness derive from his need to imitate computer quality imagery and high-resolution digital printing. It is an indirect comment on the rapid advancement of technology and its pivotal role in our lives. Working his canvas surface in immense detail, he engages in an ongoing dialogue with digital technology.

With indirect references to the aesthetics of the formulaic realism and the colour vibrancy of David Hockney, Frank Stella and Sol Lewitt, the refined landscape style of Alex Katz, Richard Hamilton’s structural arrangement and axiality of the canvas surface as well as Victor Vasarely’s op art paradigms, Vrettos develops his own personal visual repertoire. It is a journey of esoteric explorations embarking towards new ideals and imaginary worlds.

Context Art Miami




text by Dr Kostas Prapoglou, curator



Galaxies, solar systems, extraterrestrial planets and the Earth are the source of inspiration for the new body of work of Greek artist Yorgos Giotsas presented by Peritechnon Karteris Gallery Athens on the occasion of this year’s Art Miami Context.

The story embarks from the ancient Classical Greek and Hellenistic astronomy, which, in conjunction with mathematics, first attempted to identify celestial motions based on the accuracy of Babylonian astronomers and influenced by iconic samples of written philosophical treatises such as those by Aristotle and Plato. The mythological aspect of the astronomy marks the beginning of a strong bond between the two, embracing the mapping of constellations observed from the northern hemisphere and the emergence of the zodiac circle. Planets received the names of the Greek gods and all myths found their narrational counterparts in star formations, clusters and nebulae.

Surveying elements of astrogeology –the geology of planetary entities– the artist soon obtained a fascination with a number of features such as rock formations and atmosphere imbalances directly affecting the characteristics of a surface. At the same time, the presence of smaller celestial bodies like asteroids, meteorites and comets, which traverse across our solar system releasing gases and creating visible tails as a result of solar radiation, were soon engaged as additional reference points in his visual repertoire.

The materials and mediums of Giotsas are alluringly diverse. Ranging from rice paper, textile and velvet to resins, acrylics, recycled plastic sheets, spray paint and glitter, the works on view synthesize enigmatic and perplexing domains. Sometimes more inviting and other times slightly more unsettling and uncanny, his heterogeneous landscapes resonate with multi-dimensional meanings and interpretations. Unconventional elements such as eyes taken from American cartoons and colorful feathers, interrupt the surface of his works rendering a fantasy and, undeniably, an out of the ordinary world.

Influenced by the music of David Bowie as well as Robert Rauschenberg’s photo collages and Bruce Nauman’s luminosity, I define the multiple surfaces of my works in such a way that they draw color, light and shadow from one another evoking of what a traveler gazes from the window of a spaceship, which pronounces the ultimate imprint of speed”, Giotsas explains when it comes to his modus operandi for this body of work. Clearly stimulated and electrified by post-war pop culture and more particularly the aesthetics of the 70s and 80s, he looks back on how space and the unknown affected people’s lives, especially through music and the arts.

As an aftershock of Cold War games and practices, people in the Western world developed a fascination and even a fixation on outer space, the universe and alien life. This never actually went away; it was carried over from one generation on to another. The concept remained the same yet it gradually developed side by side by the rapid technological advancements achieved by governmental agencies such as NASA, intergovernmental organizations such as the European Space Agency and private aerospace enterprises like SpaceX. At the same time, the internet made a vast amount of information easily accessible to everyone; from the Google Maps and Google Sky exploration of neighbouring planets to all available data from libraries across the earth, live streaming, podcasts and millions of websites.

Scratching the surface of what is really available today, Giotsas conveys his very own passion and obsession with the cosmos. He starts his own engines to depart on a personal journey that will allow him to fulfil the need to explore unknown landscapes in different imaginary habitats.

Light, transparency, shadows, darkness, electromagnetic radiation, gravitational forces and their effects are some of the main components in his awareness of the universe. The sky, the ground and its erosion by natural phenomena, the colors of northern lights and solar winds as well as uncountable other occurrences, mesmerized and captivated the artist.

The speed of technological evolution trying to reach, compete and exceed the speed of light is also within the immediate interests of Giotsas. In an age when natural resources decline, poverty levels and societal injustices rise steadily and the Earth’s climate is being challenged severely, governments seem to be paying more attention in exploring beyond the known boundaries of humanity by seeking new opportunities elsewhere.

The colonization of the moon and Mars appear somehow more important than helping our own planet to recover from all environmental disasters caused by us. Having all these facts embedded in his subconscious, Giotsas devises his own planets, surfaces and life forms sprinkling them with glitter and space dust-like pigments. Filtered through a romantic take on what space means to him he mediates his dream for a spaceflight, a flight that will soon be available for some and, perhaps, not far from now, we will be given the chance to decide whether we wish to carry on living on this planet or opt out and try another one.



Evangelos Chatzis, Yorgos Giotsas, Vana Ntatsouli, Eleni Zouni

curator Dr Kostas Prapoglou


OPENING THURSDAY 12 DECEMBER 2019, 19.30 – 22.30

EXHIBITION DURATION 12.12.2019 – 11.01.2020



How can an autobiography distinguish itself from a memoir? What is the essence of the moment we really want to capture when we feel the urge to document a thought or a feeling that comes and goes within seconds? Do we really want to treasure this moment or is it just a subconscious force that makes us want to preserve and sustain the past?

These are only but a few of the questions that the four participating artists of the group exhibition Memoirs are the pixels of my life investigate through their personal visual lexicon and the diversity of mediums each of them employs as a conduit of artistic expression.

A biography narrates the story of a life whereas the idea of a memoir that the concept of this exhibition mediates tells a story from a life. It is a snapshot of an instantaneous vision and a piece of incomplete and unpublished writing, whose author might revisit it in the future to assemble a more finished version or simply leave it as it is.

From ancient scribbles on stone, walls and pottery to contemporary memos accumulated on electronic devices, each one of us develops and demonstrates at some point the need to contain and compress a feeling or an idea in the form of writing. It is the prerequisite of esoteric expression, initially on a strictly personal and then, sometimes, on an inter-personal level.

Coded language echoes a significant aspect of documenting everyday life. Exercising an aesthetically curious and estranging mode of recording information can oftentimes lead to the abstract resource of undeciphered memoirs. Encrypted fragments of personal notations bewilder us with the illusive quality of memory and are destined to be turned –amongst others– into works of art allowing us to access a deeper realm of reality beyond the objective concealed interpretation of each symbol. Not being able to understand the bricolage of data that expand before our eyes, we turn towards its visual texture that consequently harnesses the power of hidden meaning.

Curator Kostas Prapoglou invites each of the four artists to turn into a memorialist and present their take on the transformative and reflective power of writing, orchestrating a noetic stratification of experiences and emotions. Every work on display comes to terms with our own past and finds its place within the contemporary world.



Lady Lazarus

Will Coups

13/01/23 – 04/02/23

The history of the bust dates back thousands of years, thought to have originated in Egyptian times but rising to prominence in Hellenistic Greek and Roman times. With the main purpose of recording and displaying a person’s character, the exact method of translation from person to stone differed slightly between Greek and Roman tradition. Greek statues glorified the human form, focusing on beauty and the virtue associated with it, affirming this to stone as a lasting memory. On the other hand, Roman statuary took a more realistic approach depicting the portrait of a person as they were, lines, blemishes and imperfections included to gain a likeness as close to the original as possible and finding the beauty in the individual. In this new body of work Pouliassi has reformed the bust, utilising an array of characters as her muses she reinvestigates the common notions of busts and other statuary to form a new sculptural language focused on disrupting the ‘normativity’ of fetish, desire and identification.

Pouliassi has continued in her unique ability to craft trauma and history, both personal and universal, creating objects that question the base meanings of human, femininity and the self. These new works find a teetering balance between the romantic and the grotesque, objects ever transforming, in flux with themselves as beings. Pouliassi uses this instability as a means to destabilise anthropocentrism and create a post-apocalyptic feminine vision. The feminine is undeniable within the works, a self starting point from which Pouliassi searches through myth to reinvent femininity, decoding the monstrous feminine archetype. In an essay for Granta, Hannah Williams explores the idea of ‘woman as terroriser’ that has been a narrative throughout history;

‘The female body has been codified as disgusting, defective- leaking, bleeding, oozing- from time immemorial. She limps, incomplete and half-finished, across Aristotle’s theories, a deformed ‘monstrosity’ and ‘misbegotten man’; stalks through Talmud on Lilith’s jackal-feet, flying through the night on her bird wings to sate her demon’s appetite; drags her heavy body through Greek mythology, crowned with curls of snakes. She’s simultaneously too-much and less-than; little more than an underdeveloped man, a foetus too weak to grow entirely, pale and fragile as an orchid.’ 

The pedestals of woman Pouliassi has created stand as monuments acting to subvert the narrative and empower the monstrous. She combines monstrosity and sensuality to form beings that attract and repel us simultaneously. Like the busts of old they offer a representation of self, however, under Pouliassi’s hand they are enabled to tell their own story. Her continued use of found materials embeds the objects with a past separate for her’s. A life created out of detritus fuels more careful balance, decay existing with regeneration. The use of found materials also echoes to the economy of traditional busts that used less material than full size sculptures and embodied less space as objects, in turn echoing the space that woman has taken up in the traditional narrative.

Pouliassi fosters environments that are uncomfortable and force us to question the works both within the context of the exhibition and ourselves. The works exist in a purposeful imbalance, an unnerving equilibrium that keeps us enthralled by her objects, hypnotised by what is unknown. 

Ritalin Shots

7 November until 7 December 2019

Curator Will Coups

In 2016, Marios Psaras released the book The Queer Greek Weird Wave, exploring how Greek cinema was altered by the national crisis and how the politics of a nation can be critiqued by a queer-eye. In his description of the text, Psaras writes ‘Cinema might not be able to help heal a broken nation but it can definitely help revisit a nation’s past, reframe its present and re-imagine its future’. This statement exemplifies not only cinemas but the wider spectrum of the arts’ ability to assess and inform a situation in a subversive manner, providing a personal insight to the state of a cultural social unconscious.

In this exhibition, Pouliassi reaches into her own experiences to understand how her personal traumatic events are influenced by dystopian instability. Key icons draw us through her works, repeating in various images until we understand their significance on all levels. Crosses, knives and guns frequent Pouliassi’s pieces, leaving us unsure whether they are reminders of past events or a premonition of what may come. Paired with this, more delicate elements such as coats, jeans and shoes. These items bring contrast to the more violent aspects of the exhibition positioning themselves as domestic and every day. Relatable to us, the objects provide an entry point into the works, a sense of the familiar that allows us to become a part of them.

The human is central in how Pouliassi expresses her thoughts. On closer inspection of the works, carefully incorporated hair and teeth can be found layered into her paintings and plaited into stilettos. These remnants of humanity are not overtly associated with death alone but become a symbol of her fetishism of the macabre. Juxtaposed with the feeling of the past that these elements signify, Pouliassi offers a visceral human connection to the present. Found objects, sex toys and media tropes frequent the gallery space, serving as tokens of our time and locating the works within the millennial epoch.

There is an air of revolution to the exhibition. Pouliassi appears to be preparing a reactionary wave against her trauma and that of her nation’s. Her large paintings emblazoned with weapons and crosses evoke flag designs. The slogans written upon them act as mottos for how she sees the current climate, a satirical call to arms. Call 911, No bullets left, Missing. There is a want to find a way to escape the distress signals that Pouliassi confronts us with, searching for the proposed future that we hope she may see. Occasions throughout the exhibition allow us to glimpse at what could be, but Pouliassi has the ability to keep us confined in her way of thinking. We become a collective with her, riding the waves of momentary utopia then being brought back into her constructed dystopian home.

Tom Kosmo – Erik Pirolt


Tom Kosmo – Erik Pirolt

The retroactive force of creation

September 26 – Oktober 26, 2019

curator Kjell-Erik Ruud


The retroactive force of creation is kind of like, how many thoughts can one have at the same time? There is no right answer, but you can resonate to an answer oneself can accept, and once this answer has been put down, then you create room for even more answers or questions. I must admit i struggle a bit whit the title of this show, there is something about these three words that play havoc deep inside of me. These three words open a microcosmos of thoughts. You try to follow down a long train of thought but end up going in circles and get thrown back to the beginning. You could compare it to a Penrose staircase (M.C. Escher). You walk up this staircase but end up at the same place you started. Or like the impossible triangle (O.Rentersvard). On paper it`s possible but not in our physical world. Erik Pirolt and Tom S. Kosmo has this power to explore and to wonder. They play around to find a possible question or answer. Of course, they come across limitations like anyone else, but the limitations doesn`t seem to stop them. They go beyond where most people would see limitations and keep on wandering. They don`t create to please, but to understand society or something inside themselves or others. When the motive is inside the artist head which then transforms into something visual, maybe that’s when it happens? the retroactive force.

Kjell-Erik Ruud
creative curator


Yorgos Giotsas


emerging surfaces | drifting across the human condition

Art-Athina 2019

13-16 September 2019 – Zappeion Mansion


On Friday, September 13th, Giorgos Giotsas’ solo exhibition from the PERITECHNON Karteris Art Gallery will be presented in Art Athina 2016 at the Zappeion Mansion. Medium-sized works made of concrete, pigments and resins will be presented.
Curated by Dr. Costas Prapoglou.

…For Giotsas, the works on view are imprints of non-human as well as human conditions. Suggestive of both natural and man-made landscapes, they ingeniously blur the boundaries between the real and the unreal. Gazing at his artworks, viewers progressively rehabilitate themselves not only into the contemporary natural environment but also the urban domain. Evocative of the duality and the visual polarities between natural phenomena and artificial occurrences such as erosion and corrosion, the artist pronounces the turbulent disorder of daily life whether this is intensively interconnected with the surrounding natural habitat or the dense urban milieu. At the same time, the works may be seen as extensions of human involvement; a seemingly post-apocalyptic, dystopian or even extraterrestrial setting nevertheless in a surprisingly much more familiar context to the aggressiveness of contemporary realism. Post-war and post-contamination objects in visual proximity to the artist’s pieces are extensively scattered or being salvaged from all over the planet, a collection of remnants and detritus of shameful human activity…

Kostas Rapoglou

Yorgos Giotsas lives and works in Athens and exhibits around the world.


Pop icons in a media drenched age




“Pop icons in a media drenched age”


OPENING JUNE 6 2019, 19:30

Duration: June 6 until July 20, 2019

Dr Thalia Vrachopoulos

Excerpt from the catalogue:
…The work of the three artists in this show Ifigeneia Avramopoulou, Yorgos Giotsas and Eleni Parmakeli visually relates to the pop culture aesthetic revived today around the world. But their goals and language differ. Avramopoulou is interested in the kind of imprint that culture and context stamp upon the individual human psyche while searching for essences. Through her iconic work, Parmakeli examines the extremes, or changes taking place between the real and virtual worlds. And, Giotsas combines word and image to convey his outrage over political events and their repercussions upon the poor sector of the populace…


Ifigeneia Avramopoulou was born in Patra, Greece. She has been granted the State Foundation Scholarship Award by IKY for her studies in Fine Arts at the Department of Fine and Applied Arts of the University of Western Macedonia, in Florina, Greece (2007-2012). Her Professors were Mr. Yiannis Kastritsis (painting), Mr. Manolis Polymeris (painting) and Mrs. Dimitra Siaterli (etching-engraving). Holder of an Integrated Master’s Degree in Painting. She has presented her work in the solo exhibition “Crucifixion, Homage to Matthias Grünewald” at the PeriTechnon Karteris art gallery in 2017 (curator: Lida Kazantzaki). She has participated in many group exhibitions and art fairs. In Greece she is represented by PeriTechnon Karteris art Gallery. She has designed and illustrated the book cover of “Orlando, A biography”, by Virginia Woolf (Gutenberg Editions, ALDINA – 11, Orbis Literae). She is a member of the Berlin bbk e.V., the Chamber of Fine Arts of Greece and the Association of Visual Artists of Patras. She lives and works in Patras, Athens and Berlin.


Yorgos Giotsas attended classes of painting at the School of Fine Arts in Greece and Graphic Design at Hertfordshire University in the UK. He lived in London, Istanbul and Athens. Today he leaves and works in Italy and Greece. Several works of him belong to private and public collections in Greece and outside, we can see some of them in particular in the Museum for Contemporary Art and 20th Century in Monsummano, in the Hungarian Open Air Museum at Szentendre – Budapest, in the Museum Kresow of Lubaczow, and at New York, in Queens College, in Consulate General of Greece at New York and in the Italian American Museum.
Up to the present, he held 10 solo exhibitions and has taken part in numerous International group exhibitions and art fairs. In Greece he is represented by PeriTechnon Karteris art Gallery.


Eleni Parmakeli was born in Athens where she lives and works. In 1997, she started her studies at the Athens School of Fine Arts, from which she graduated with first-class honours in 2003. She studied Painting at the studios of Prof. T.Patraskidis and Prof. Y. Valavanidis. In addition, she studied Engraving and Mosaic at the School s studios. Up to the present, she held three solo exhibitions and has taken part in four International Contemporary Art Fairs and twenty group exhibitions in Greece and abroad. In Greece she is represented by PeriTechnon Karteris art Gallery. Works by Eleni Parmakeli are to be found in the collection of Goulandri Museum and in private collections in Greece and abroad.
Critics and art historians who wrote on her oeuvre: Giuliano Serafini, Chrisanthos Christou, Yiannis Kolokotronis, Takis Mavrotas, Bia Papadopoulou, Athena Schina, Dora Iliopoulou Rogan.




2 April until 4 May 2019

Curator: Kjell-Erik Ruud

Felicitas Aga was born in Sweden in 1968 and grew up in Norway, the USA and Germany. She studied art at the Städelschule in Frankfurt under the great Danish painter Per Kirkeby. She spent a year at the Slade in London, where her tutor was Bruce McLean.
After further studies at Vestlandets Kunstakademi in Bergen, Norway, Aga received a DAAD scholarship in 1995, which took her back to London. She completed her education at Chelsea School of Art, London, with a Master of Arts degree in 1996. Felicitas Aga was awarded the Otmar-Alt scholarship in 1999 and the Volker-Hinniger-Preis in 2000.
She has had residencies in Italy and Florida and in 2012 she received the Atelierförderpreis des Bayrischen Staates.
She lives in Germany and England and exhibits internationally.