A Conversation with Marilena Karagiozi

January 9, 2026

Studio - Website

Could you introduce yourself and your artistic practice? Is there a recurring theme or question in your diverse body of work that you find yourself consistently drawn back to?

I'm a multidisciplinary artist working with mixed media, rooted in jewelry and metalsmithing. My practice includes wearable art and video, with future plans for performance. After two years in Berlin, dealing with language and frequent moves, I found solace in the struggle of contemporary realities. Bridging a connection between past and present humanity shaped my core artistic theme. I incorporate materials with symbolic meanings or historical significance, reinterpreting them in a unique way. I believe my archaeology studies have also influenced this approach.

My practice is driven by curiosity about how people once thought, why they used certain materials, and how those choices shaped their worlds. Another theme that comes to mind is grief or decomposing or death, especially since they are all core human experiences. Through symbolism, I play with the timelines of societies and humanity, in search of the continuum of human struggles and the need to express identity through materials.

Marlena Karagkiozi in the studio

Considering your academic background in history and archaeology, how has it influenced your artwork, from its beginnings to its current evolution?

My studies in history and archaeology deeply influenced my art from the start, as I pursued them concurrently with jewelry courses. Initially, I recreated classical Greek jewelry, and over time, this evolved into more symbolic pieces, bridging ancient and contemporary themes. My thesis on Byzantine protective amulets, and I was fascinated by how they combined Christian crosses with symbols like Medusa. I was influenced by the mortal need to cling on to a saviour, whether it came in the shape of Saint Nicholas or Medusa, it didn’t make a difference as long as they’re guaranteed salvation. Just someone save me, please.

You've mentioned grief or death as recurring themes. You've recently started working with natural, decomposing materials; could you elaborate on this new direction and what directions these materials help you explore?

Working with natural decomposing materials is a new direction for me. Initially I’d cast the elements in metal in an attempt to preserve them, exposing an inherent drive to create everlasting works. In a way it's a struggle against death, being an artist. The urge to maintain the elements from decay put me in a contradictory position. As I found myself picking worms from apple parts to maintain their form, I felt the line between letting go and preservation blurred. I’m still in the process of understanding this tension between allowing the materials to take their natural course of decay, and holding on.

An artwork in progress using natural materials

Jewelry has a unique tactile nature, where the wearer actively becomes part of the artwork. How do you navigate this aspect, especially when comparing it to other mediums where the works are more separate from the observer?

My fascination with the material was rooted in my childhood and I believe my practice is a natural extension of that instinctual pull. I felt grounded through engaging with them—putting them on, feeling their temperature, even putting them in my mouth. From an archaeological position, jewellry is the most ancient form of art. This bond has accompanied humanity for centuries, as jewelry carried personal significance, such as prehistoric humans wearing their predator’s teeth to represent power and victory.

As a result of colonialism, this perspective has shifted. Jewelry became exclusive to the rich and powerful and started to be a signifier of status and the aftermath nowadays with cheap, mass-produced jewelry. When I entered the contemporary art world I saw a lot of people struggling to be called artists and not people from the crafts. And it was difficult for some art galleries to present those works due to differing perceptions of artistic and material values.

You've mentioned feeling restricted by conventional wearability, leading you to explore wearable/non-wearable art. How do you approach this concept in your current work, and how does it challenge expectations?

After years in conventional wearable art, I felt restricted by its definitions and the art world's expectations for the discipline. That's why I started playing with the concept of wearable/non-wearable. This shift was driven by both career necessity and a personal desire to liberate myself from rigid ideas about how art should be worn and how materials must conform to specific artistic representations, ultimately challenging established norms.

From the series "Berlin’s Blockshhh"

If the core themes of your work could manifest in a completely different medium, perhaps using movement, film, or an interactive installation, what would be your preferred alternative, and why?

I find choosing a single medium restrictive. My creative urges encompass sketching, jewelry, and video. I feel the need to wake up and do a sketch and then I want to play around with a half finished thing. I want to make a piece of jewelry and then I want to make a video. I've been experimenting with many mediums, made a lot of videos and for a time exploring different disciplines was part of my practice. I'm not bored. While sculpture and video are close to my heart, I also feel a pull towards performance. Many people have suggested that I include a performative element, but I feel reluctant to do so, perhaps out of timidity.

Could you walk us through your creative process, from an initial impression or sketch to a finished piece? How does your work typically evolve, whether it's an everyday practice or a broader project?

My creative process is instinctually driven, often sparked by daily impressions, images, or personal experiences. My informal art education gave me space to explore mediums freely. Typically, I’d use materials from my collection that best reflect these instincts; this isn’t a strict rule, however. The process involves extensive experimentation, which can sometimes lead to moments of disorientation or an unexpected new aesthetic which is visually pleasing but maybe doesn't fit with the overall feeling. I often find myself questioning the direction of a piece midway, seeing it as a continuous evolution where one work naturally leads to the next. Other times, the intention is as direct as addressing a specific theme. For example, I just say I want to talk about fascism and I just make this. It's as simple as that.

Materials from the work desk

When people engage with your work, visually and by touch, what kind of impressions do they typically experience? What reactions do you particularly enjoy witnessing when they wear one of your pieces?

My work often challenges conservative viewers. I don’t take it to heart when they comment on how dark, bleak, or weapon-like my work appears—I find it funny actually. When people wear my pieces, they’re usually pleasantly surprised with the sensation. My plaster bracelets, for example, make sounds and movements that can trigger a fight-or-flight instinct, yet they can also transform into a protective tool. My sister found herself playing with them, and after hearing its story, she was surprised by how she felt when she wore them. I get the most positive reactions from women who feel empowered when they wear my pieces, like warriors in armor, a reaction I enjoy witnessing, connecting to the ancient power of symbolic jewelry. My male non-artist friends really enjoy interacting with the pieces too; they even participate in videos.

From the series "A Poor Man's Armor"

Could you describe some of your recent works in progress that incorporate parts of "old" technology?

My recent works incorporate pieces that are now considered ancient, I combine them with fossils and trilobites. This revisits the theme of old and new. I view technology as a tool, I find it funny when people get freaked out over new technology. The robots are not going to come and get us, relax. We’ve survived eons of technological advancement, and it goes hand in hand with evolution. I don’t see it in black and white; its versatility offers users the freedom to choose, and its impact depends on how it’s used. Aesthetically, I find this combination playful and pleasing; they totally make sense to me. I've previously created large jewelry pieces using discarded tech like lenses, cameras, and burnt headphones. I experimented with incorporating these technological components into my designs, exploring their physical proximity to our bodies and their symbolic roles.

A work in progress combining an old iPod and a tooth

With the rise of wearable technology like smartwatches, how do you view this development, especially given they are more functional than traditional jewelry and they collect data?

I see wearable technology as distinct from wearable art mainly because they are made to serve a specific technical purpose. While I see art has a more psychological soothing effect, these devices are designed for functionality. Although wearable tech intersects with fashion, and fashion itself crosses paths with art, their priorities remain different. I believe there is space for all tastes and preferences, provided no single approach becomes the one absolute truth. I imagine these gadget-like fashion items are also pleasing to the eye, but while I think not everyone relates to them strongly, some others certainly do.