Haris Epaminonda works with found materials such as sculptures, pottery, books, or photographs, which she often combines to carefully construct her characteristic installations. These objects are entangled in a web of historical and personal meanings that are unknown to the public and, probably, to her too. It is not that she ignores these stories: they are implicit, they exert their power intrinsically, while softly bending into something different as they settle into her installations. She chooses them for their qualia, their irreducible experiential qualities, which make them shine forth and become visible.
