Sofia Dalamagka continues the tradition of Hannah Höch, Dora Marr, Martha Rosler, and Barbara Kruger, women artists known for photomontages that invite close inspection and reward our later, deeper reflection. Rather than polemical agitprop, Dalamagka’s feminist art concerns personal politics, the power struggles within four walls, and the tension, the violence, and the particular mysteries of life in a family, life in the world. Her images are constructed, in part, from forgotten mementos, torn, erased, burned, and discarded prints and postcards.  The artist combines this unlikely source material into dark concoctions of seemingly randomly assembled fragments that she resolves into compositions that always mean much more than the sum of their parts. 

"How is it possible, that you can buy at second-hand shops only with a few euros, pictures that promise eternal happiness, like wedding photographs, the birth of the first child, his first Christmas? Birthday photos, memories, one-day excursions, family moments all full of dust, scarred from time passing over them and ending up in a vast cemetery of pictures. What is photography after all? A fake contract with eternity or the birth certificate of reality that reveals the temporary personality of a memory?

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"We recreate memories through pictures, we define our feelings through a lens, we record frantically in an objective-subjective way I dare say, the violent passing of time. The lens becomes the third eye."