Especially significant in the works is the visualisation of sounds borrowed from the language of comics: Cracks, explosions, speech bubbles and narrative boxes are present in all collages, but as they are accompanied by no words, these gestural depictions of sound hint towards a plot that is not being verbalised. By creating a sense of the inaudible, Athanasiou suggests that the sound of things cracking or of things being discussed is taking place "off-screen", enhancing the sense that this inaccessible narrative is taking place internally, not unlike a recurring thought. The works are printed on A0 panels of household glass, utilising the transparency of the material, the images are at points see-through, allowing the physical space to disrupt the image while communicating the fragility, transience and – oh well! – banality of interpersonal drama.

 

A similar line of thinking was implemented in the creation of the publication by the MISC design team. The transparency of glass was translated into the transparency of film and the poetic chapters of the text were superimposed onto each other to create a sense of the concurrent. Elements from the prints, separated from their original context are repurposed in the publication, framing or even sheltering the words that are absent from the prints on the walls. Usually working digitally or in the form of publications, this is Athanasiou's first time experimenting with the exhibition format. Releasing these collages into the physical realm is the last stage of a creative ritual that she is hoping will give her usually digital worlds a different kind of space to breathe in.