Assisting Refugees Through Proactive Activism

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Born and raised under a junta on the isles of Lesbos and Crete, Greece, Eurydice ran off to America at the age of fifteen. Her grandparents had migrated back to Greece from the vibrant Greek communities of Alexandria and Smyrna. She learned early in life that history—from war to invention, from philosophy to theology—happens on the bodies of women, often literally (in the form of mass rape and abductions of women as spoils) and always metaphorically (in the form of marital rape and parental girl-breeder trafficking). Both elevated and vilified like Helen of Troy or Maria Magdalena, women signify passion, redemption, war spoils and conquest, and have been used to justify patriarchal territorial aggression throughout history. The ubiquitous bodies of women, as mothers, as beloveds, as artists’ models and poets’ muses, as objects of beauty or terror, reverence or disgust, have been the single consistent metaphor of Eurydice’s artistic evolution. The idea of woman encompasses the continuous ambivalence toward life (and sexuality and mortality) that initiates and then sustains the male aesthetic domination of art and literature. Eurydice has explored this theme and only this theme in fiction, poetry, nonfiction, and in filmmaking, painting, drawing, printmaking, collages, installations, and, most recently, out of respect for the traditional unrewarded arts of women throughout history, in hand stitching. By temperament and ideology, Eurydice practices the synergy of artistic media and incorporates the lessons from each medium in her overall oeuvre. She is interested in opening up new venues of expression and subverting familiar modalities of paradigms that have been co-opted by patriarchy and late capitalism in order to present an alternate reality which she hopes will be more faithful to women’s interior lives and psyches. Her art centers on lifting the veils, layer after layer. Apocalypse means unveiling in Greek.