Βy Zeta Tzioti

To mark the 150th anniversary of The American College of Greece, presents A Link and a Break in Time—a commemorative exhibition reflecting on the institution’s layered legacy through a series of newly commissioned works. Among them is “AWARDS 1 TO 9”, led by artist and associate lecturer, Georgia Kotretsos, in collaboration with nine all-level sculpture students: Iason Bonas, Maria-Luisa Dollete, Anna Giakoumakatou, Phoebe Kainourgiou, Fani Koulocheri, Phivi Nicolaou, Vaggi Sekifu, Natalia Zara, Zhiye Zhou (Angelica) who created a 9-sculpture piece installation.

Displayed as a monumental moment the installation ”AWARDS 1 TO 9” stands out both as an artwork and as a moment of celebration in which the group honored the occasion at the opening in appropriate sassy style by putting the mechanics of art in motion.

I would like to present to you this interview which explores the pedagogical, artistic, and emotional landscapes that shaped the project, offering rare insight into what happens when students are trusted not just to learn, but with a whole set of responsibilities. Each of the nine sculptures now stands as both a personal contribution and a collective voice of the installation—one that will echo through their portfolios and futures, long after the exhibition closes.

ΖΤ: What is the occasion and historical context of “A Link and a Break in Time” and how did the exhibition come about conceding with the College’s 150-year legacy?

GK: It is always the right people who can truly inspire and drive collective forward movement. The idea was born, on Monday, September 16th, 2024 during a meeting between our Dean, Helena Maragou, and the VA faculty of the Department of Arts and Creative Industries to discuss ways to celebrate the school’s 150-year legacy in 2025.

The VA program is compiled of exceptional artists of my generation, as well as educators who are deeply committed to their areas of expertise. A breainstorming meeting turned into a manifestation, celebrating both the school and the potential for creative output. This opportunity organically evolved among many of us into a collaborative project with our students.

This year marks 150 years since the College’s founding.

In 1875, Mary West, a missionary from Boston, opened the “American School for Girls” in a restored mansion in Smyrna, driven by the idea of liberating women from illiteracy. From its relocation to Athens following the Catastrophe of Smyrna, to its use as a military hospital during the Greek-Italian war, and its transformation during the German occupation, the College has undergone multiple redefinitions. In 1965, it moved to its current campus on the slopes of Mount Hymettus in Agia Paraskevi.

In 2012, the School of Fine and Performing Arts was renamed in honor of artist and benefactor Frances Rich (1910–2007). This exhibition reflects on these transitions, not as milestones in a linear progression, but as layered moments forming a constellation of lived, institutional memory.

The exhibition was curated internally by Christos Asomatos, Ana S. González Rueda, and Ioanna Papapavlou.

My group had the pleasure of working closely with curatorial assistant Anthi Stergiou, an Art History and Theatre Arts and Dance department student at Deree. Anthi’s deep understanding of our project was beautifully reflected in both her engagement with the work and in the clarity of her accompanying text, in relation to Kotretsos’ practice: “Georgia Kotretsos’s own artistic work explores liberating and anarchic approaches to art viewing, proposing that perception is inherently site-specific and that spectators bear the responsibility of their own interpretations. Kotretsos’s research-based practice encourages speculative approaches to the production of knowledge by challenging traditional and historical norms. In this case each student’s contribution reinterprets the idea of recognition through material and form. The result is a set of works that questions the nature of awards and urges us to reflect on the  nuances inherent to  social conceptions of worth, validation, competence, and excellence.” 

ZT: What motivated your decision to share the exhibition space and opportunity with your students through an open call, and what values did this gesture aim to communicate?

GK: Due to time, space, and budget restrictions, I had to promptly adapt to the complexities of the project at hand—in a setup where I was involved, present as an artist but my goal was to give students the opportunity to shine.

I shared the opportunity with sculpture students of all levels, hoping maybe three the most would take it on. Less than two months before Easter break—when the works would need to be transported to the ACG Gallery, in the middle of exams, courses, and everything else—nine superb students namely: Iason Bonas, Maria-Luisa Dollete, Anna Giakoumakatou, Phoebe Kainourgiou, Fani Koulocheri, Phivi Nicolaou, Vaggi Sekifu, Natalia Zara, Zhiye Zhou (Angelica) stepped forward to work with me after hours, rain or shine, outdoors in the Pierce courtyard.

This was all made possible with the blessing of Mr. Michalis Orontis, whom I cannot thank enough. The project was demanding and required outdoor work due to its scale and technical demands. With the support of Mr. Don Hong, the sculpture technical assistant we managed to produce this body of work that belong to all of us.  

The most important thing is that this wasn’t a hypothetical scenario or an assignment. Although the students were initially intimidated by how demanding it might be, we planned everything together. Our communication was transparent, our budget and work ethic were established collectively, and the theme—centered around academic validation and awards—was set in motion. It was an open-ended theme, creatively open to interpretation.

We turned every difficulty, obstacle and bump on the road into a learning opportunity. We worked on everyone’s pieces collectively. We solved problems as a team. I had to act like a conductor, with sharp reflexes to economize on both time, budget and resources. It was the most rewarding experience I’ve had at Deree thus far working alongside my students. It was the epitome of collective creative joy. I would share the spotlight anytime with this inspiring group of future peers.

This is how the 9-sculpture piece installation was born, “AWARDS 1 TO 9”.

ZT: The installation consists of nine individual sculptural pieces—what kind of collective meaning or narrative emerges from the ensemble?

GK: Some of these works began as drafts of individual ideas—seeded through personal reflections and questions. Yet, as the process unfolded, they were not guarded as singular, owned expressions. Instead, they were nurtured collaboratively, shaped in an environment that rejected authorship as possession and embraced creation as a shared, open-ended endeavor. 

Through dialogue, critique, and hands-on support, each student contributed not only to their original draft, but to the realization of every work in the ensemble. It became a collective act of making—rooted in mutual respect, generosity, and a shared investment in the themes at hand. Together, we stood not behind isolated works, but alongside a series of meaningful inquiries that asked: What does it mean to be part of this institution? How does it form us, and how do we, in turn, shape it?

If this process—of collective making, intellectual generosity, and the joy of seeing one’s values reflected in form—is not a true celebration of the institution that educates and empowers us, then what is? I cannot express the depth of joy I felt witnessing the students’ sense of pride and fulfillment as they saw their work installed—recognizing not just what they made, but who they are becoming.

The AWARDS 1 TO 9 installation forms a multifaceted narrative that meditates on the transformation, resilience, and continuity of academic life across generations. While each work stands independently in scale, materiality, and concept, together they articulate a shared inquiry: what does it mean to belong to, shape, and be shaped by an institution over time?

AWARD 1 by Zhiye Zhou (Angelica) opens the conversation by portraying the institution as a nourishing body—a maternal force that sustains through collective support. This metaphor of nourishment sets the tone for the ensemble, emphasizing the invisible structures of care and continuity in academia.

AWARD 2 by Fani Koulocheri delves into education’s transformative nature, mapping the deeply personal metamorphoses that occur within academic walls. This theme of inner evolution is echoed and expanded by AWARD 3 by Vaggi Sekifu, which explores identity formation through the lens of dress and tradition, revealing how students navigate complex roles between conformity and self-expression.

The historical and gendered dimensions of academic space are powerfully centered in AWARD 4 by Phoebe Kainourgiou, which honors the pioneering women whose intellectual labor opened pathways for future generations. This intergenerational thread is sustained in AWARD 5 by Anna Giakoumakatou, where time becomes a sculptural force that twists, breaks, and reforms the pursuit of knowledge itself.

Metamorphosis takes a symbolic turn in AWARD 6 by Phivi Nicolaou, where antlers evoke the shedding and renewal of identity, encapsulating the maturity and self-actualization that education makes possible. Similarly, AWARD 7 by Iason Bonas situates academic achievement within the tension of past and future, with sails reconfigured as trophies—objects that both carry history and steer ambition.

The legacy theme is literalized in AWARD 8 by Maria-Luisa Dollete, where institutional memory becomes a form of DNA—transmitted, inherited, and embodied across generations of learners. Finally, AWARD 9 by Natalia Zara envisions a luminous future, crowning the arc of transformation with a gesture of creative exuberance and self-determination beyond the institution’s 150th year.

Collectively, these works form a sculptural constellation—each a point on a continuum of memory, struggle, growth, and aspiration. Their diversity of forms and materials mirrors the multiplicity of student experiences, while their shared themes generate a powerful narrative: that academic institutions are not static monuments but living, evolving ecosystems shaped by all who pass through them.

ZT: Could you elaborate on the concept behind your collaborative sculptural installation with the nine students? What artistic and pedagogical intentions shaped the project?

GK: From my end, this gesture was extended as an award to all of them, by trusting them to engage with a real-life creative scenario. I opened up the full scope of the process—creative direction, problem-solving, administrative communication, budgeting, packing, lighting and the intricate web of interdependence that held us together. We adopted a “no-one-left-behind” ethos, where every voice mattered and every contribution shaped the final outcome. In that space of shared responsibility, I watched my students transform.

There is no better pedagogical tool than guiding someone’s hand through an unfamiliar opportunity—by staying close. Along the way, we laughed, we bonded, and we built something far greater than an exhibition. We became a 10-person creative team capable of taking on any project that comes our way. We learned that trust is earned—and most importantly, we earned it from one another, even when external pressures tested our resolve.

Allow me to say a few words for each of them, as a tribute to what they brought to this journey:

Iason Bonas is graduating this year, and he was the final addition to our group. A highly creative and gentle young man, Iason has the sensitivity and vision to carve an exciting path, whether he continues in fine art or bridges his practice with fashion—a world that clearly inspires him.

Maria-Luisa Dollete is a dedicated maker, with an intuitive grasp of scale and material. Her refined demeanor and collaborative spirit make her an exceptional asset to creative teams that extend beyond the traditional boundaries of art.

Anna Giakoumakatou is a project-based thinker—calm, composed, and deeply capable. She synthesizes the conceptual, the practical, and the administrative into a unified, elegant whole. She looks as strong on paper as she performs in practice.

Phoebe Kainourgiou is the youngest of the group, yet she handled the pressure and responsibility like a seasoned pro. Her commitment and confidence were unwavering, and she never once faltered in the face of strict deadlines. A quiet inspiration.

Fani Koulocheri, beyond her creative talents, brings a sharp intellect and a radiant sense of humor. She lights up any room, and has all the tools to forge a path that is both original and meaningful by paying great attention to detail when everybody else has quit looking. 

Phivi Nicolaou’s journey has been a joy to witness. From her early days in the sculpture lab to the poised artist she is today, she has grown in both confidence and complexity. Her cultural richness is her power—and her future is bright.

Vaggi Sekifu brings joy and authenticity to everything she does. Passionate and driven, she crafts her world with intention. Her work from last year, Crisps & Whistles: Sfyria Language, is a beautiful convergence of poetics, research, and form. As for her imitations of me? Spot-on-at times—but always hilarious!

Natalia Zara is unstoppable. Her qualities—resilience, attentiveness, motivation, and freedom—are too many to list. Her spirit is whole and must be protected. Art, for her, is not an existential dilemma—it is simply a way of being.

Zhiye Zhou (Angelica) is a powerhouse. Her meticulous craft, precision, and clarity of thought are unmatched. She naturally thinks in three dimensions—something many of us work to develop, but that she seems to carry innately. Even her sketches and notes are works of art.

This team was not only brilliant, but also culturally diverse—Greek students from Athens and beyond, alongside peers from China, the Philippines, and Cyprus. The dialogue that emerged from this blend of perspectives was nothing short of inspiring. Do not break their spirit!

ZT: How has the experience of working with students as peers in a professional exhibition shaped your views on mentorship, recognition, and artistic responsibility?

GK: The rules, however, were different this time. I was not acting solely as their instructor—I was inited to participate as an artist. That shift brought with it a different set of expectations, both for me and for the group. In the classroom, we work within the framework of institutional protocols and curriculum. But in this project, I invited them into a space where artistic responsibility was shared, and the stakes were real. This wasn’t a hypothetical exercise; it was a professional collaboration. 

For many of them, it was the first time they experienced the creative process not as students completing a task, but as peers participating in something much larger. They rose to the occasion with maturity, excitement, and a deep appreciation for the opportunity—because they understood that they were being treated not as students, but as fellow artists.

Now, all nine works will be proudly included in each of their professional portfolios—not as isolated contributions, but as part of a unified, collaborative installation. That is no small achievement. To be able to demonstrate real-world production experience, teamwork, and creative authorship in a shared exhibition is a powerful milestone at this early stage in their careers. It gives them not just a line on a CV, but a lived understanding of what it means to contribute to something collectively meaningful and professionally executed.