In a world drowning in information, where every scroll, click, and notification pulls us further into the noise, Aggelos Maniatis builds an antidote—not by silencing the chaos, but by reshaping it.
Through Distraksion, a project that fuses ancient materials with modern urgency, their work becomes a visceral reflection of the fragmented, overstimulated reality we all inhabit.
Blending elements of traditional craftsmanship with the raw energy of urban culture, Distraksion doesn’t just comment on sustainability—it redefines it. From clay to graffiti, from discarded scraps to digital echoes, every piece is a conversation between past and future, between what we throw away and what we hold onto.
As part of our upcoming exhibition ''Wasteland to Wonderland : Art in The Age of Sustainability'', he invites us into a distorted cityscape where texture, form, and concept collide. In this interview, they unravel the layers of their creative process, exploring not just material sustainability, but the deeper question of how we sustain ourselves—mentally, emotionally, and artistically—in an age of endless distraction.
What inspired you to become an artist? Was there a defining moment that led you down this path?
My artistic journey was not defined by a single moment but developed progressively. Painting has fascinated me for as long as I can remember. I began intensive painting lessons at a young age, and as I grew older, my teacher introduced me to the Fine Arts School. However, the deeper I immerse myself in the art world, the happier I am with my choice.
How did the concept for Distraksion develop, and what drew you to explore these themes?
I grew up during the early years of the Greek crisis, a period that brought economic, cultural, and social decline. This new reality led to mental upheavals in people—something that immediately caught my interest. These were the initial motivations behind Distraksion, and later, additional factors were incorporated.
Can you tell us about your work in the upcoming exhibition Wasteland to Wonderland?
Distraksion is a project that explores sustainability through both material and concept. These installations are crafted from wood, clay, paper, and other materials that transcend time—used by artists, commoners, and aristocrats alike since ancient times. Distraksion redefines sustainability by merging influences from different eras and cultures into a single artistic expression. It draws inspiration from African traditional painting to modern graffiti, from clay statues to 3D-printed miniatures.
This diverse collection of sculptures reflects the overwhelming amount of information we consume daily and its impact on our lives. In Distraksion, sustainability is not just about materials—it’s also about mental sustainability, questioning how the constant influx of information shapes our perception and well-being.
You use materials like wood, clay, and paper—why did you choose these specific elements, what do they represent to you ?
I use materials that are abundant wherever I am. The sheer variety of these materials not only gives me the immediacy I need to express myself but also, by incorporating ‘waste,’ they contribute to the dystopian world of Distraksion. Lastly, the accumulation of these ‘dirty’ materials immerses the viewer more deeply into the work.By using ephemeral, cheap, and disposable materials and creating works that appear hastily made, I immediately convey the message of Distraksion to the viewer. As Marshall McLuhan said, “The medium is the message.”
You explore sustainability beyond just materials, touching on the concept of 'mental sustainability.' How does this relate to the way we consume and process information in today's digital age, and how is this reflected in Distraksion ?
For me, art operates on two levels: the physical—the use of materials and techniques—and the mental, serving as a means of expressing one’s inner world. Beyond material sustainability, I see mental sustainability as the ability to process and navigate the overwhelming influx of information in today's digital age. We are the first generation to experience such an unprecedented flood of data, which has led to anxiety and a sense of mental unrest. Distraksion is a direct response to this reality—a commentary and an open dialogue on how we consume, process, and struggle to find balance amidst the chaos.
What challenges have you faced in bringing this vision to life, both creatively and technically?
The greatest challenge was not the technical execution but answering a fundamental question: Why am I doing this? Defining the deeper purpose behind Distraksion was essential before I could fully commit to it. Once I had clarity, the technical obstacles—whether in material choices, construction methods, or presentation—became secondary and easily solvable. Of course, every project comes with its logistical difficulties, but compared to the conceptual challenge, they felt minor
Are there any upcoming projects or directions you’re excited to explore in your work?
As Distraksion continues to evolve, I feel an increasing need to share it with a wider audience. What started as a personal exploration has grown into something I want to engage people with on a larger scale. Moving forward, I’m excited to experiment with new ways of presenting these ideas—perhaps through immersive installations or interactive elements that further blur the line between the viewer and the work. There are definitely more projects on the horizon, and I look forward to seeing where this path leads next.
If there’s one message or feeling you want people to take away from your work, what would it be?
I want the viewer to step into my world and experience a reflection of the chaotic, fragmented reality we live in. My work is influenced by today’s culture and subcultures, offering a sensory overload of textures, images, and meanings. Rather than providing clear answers, I invite people to engage, question, and interpret the work in their own way. Ultimately, it’s about immersion—being placed within a distorted urban landscape that mirrors the dissonance of modern life.
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All photographs copyrights belong to the artist Aggelos Maniatis.
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