Medieval Divas, Solo Presentation
Eaxo Stavros, 2025
Psychic Conman, Solo Show
Memeraki Artist Residency, 2025
BIP: Imaginarium Park, Group Show
Curated by Fabian Neisius
& Orestis Telemachou
Okay Space, 2025
Radical Rest, Group Show
Curated by Stavros Captain
& Vasiliki Kaga
Okay Space, 2025
Project Fuego, Group Show
Organised by Antifazone Cy & Afoa Cy
El Taller Space, 2024
Scratch Crackle & Pop, Group Show
Organised by Animafest
& Steven Woloshen
Animafest, 2024
Sweet Liminal Space, Group Show
Organised and curated
by Mikaella Socratous
& Orestis Telemachou
Off-site Strovolos, 2023
Pleasure Hunt, Solo Show
Featuring works by Stelios Georgiou
Curated by Emily Petridou
Off-site Acropolis Caves, 2022
The Room, Solo Show
Off-site Strovolos, 2016
Aesthetic Purgatory, 2024
Video Work
Medieval Divas in Red Room (Eaxo Stavros)
Oil on canvas and wooden clothes pegs
80cm x 60cm
(2025)
Medieval Divas began as a plan—or at least the illusion of one—a quiet study of small lives, blue stories, and little séances for daily entertainment, a way to listen to a village and translate its silence into art. But Stavros, Crete, in its infinite, unbothered wisdom, laughed at my plans. Two pairs of sisters ate them for breakfast. The first pair appeared at the kiosk, a fluorescent capsule of cigarettes, gum, and unstoppable jokes; the second ruled a grapevine - shaded restaurant, slow, smoky, where every plate arrived with a story and a teasing warning. Between them lay the soft heart of the village—Zorbas the Beach, with its banners of the eternally dancing Greek, part shrine, part joke, entirely sweet.
Eaxo Stavros
Art Residency
Stavros, Crete, 2025
Contact for more information about the project.
The village became a map, each street a pulse, each encounter a beat. Humor became our shared language—not polite, but sparkling, contagious, a friendship disguised as chaos. Impromptu photoshoots erupted on yellow pickup trucks, props were improvised—shisha pipes, half-eaten chocolate bars—and umbrellas were wielded like swords. In those moments, the sisters were young knight-girls, radiant, mischievous, luminous, carrying both joy and authority. Every click of the camera, every tilt of a chin, every flash of sunlight became part of a fable in motion.
The work emerged like a secret that had always existed: inverted-color portraits on rolling pedestals, paintings in the soft grain of 1980s analog photography, sculptural umbrellas half weapon, half charm, glowing like Mediterranean Excalibur. Observation folded into collaboration; play became ritual; everyday life became myth. The sisters gave me their trust, their time, their laughter, and in return, they became protagonists instead of muses, co-creators instead of subjects.
Somewhere in that quiet delirium, the project transformed: a soft, gendered myth, a feminine claiming of space on a beach long celebrated for masculine legend, four women laughing, radiant, rearming a story with umbrellas as swords. Medieval Divas is a fable, a joke that turned into tenderness, a small miracle between art and life, a myth carried lightly in ten laughing hands—a story of friendship, observation, and the surprising ways a village can rewrite your plans and your imagination.
Four Dimensional Cross Installation View
with printed photographs of sisters number 3&4 (Lenia & Gianna)