Books On Books

Bookmorph n. (bōk+μoρφ): a portmanteau word referring to casebound books which have been modified; an emergent branch of sculpture in which textual content is often downgraded; treatments include chewing, cutting, drilling, entombing, pulping, ripping, shooting (with a firearm), siliconising, etc; any codex fundamentally altered or warped by an artist; a site of entropic processes designed to return pages to cellulose fibre, and/or the creation of a fungal landscape; a bibliographic montrosity. Michael Hampton, arts writer, May 2025

The curators’ choice of title and epigram for this exhibition is somewhat daring. Although they have included plenty of bibliographical montrosities that fit Hampton’s definition, there are plenty of bibliographical beauties, too — even among the “monstrosities”. A strong attraction of this exhibition is that it presents so many recent works from Greek book artists. Even more attractive is its hands-on display of most of the works.

Anneta Spanoudaki’s Natura Morta (2025) is a striking case in point:

Natura Morta (2025) Anneta Spanoudaki
Paper cut on different types of paper and photography. 480 × 220 mm. Photos: Books On Books.

Another case in point is Dimitris Skourogiannis’ 100% An Artist’s Bible (2025). To be turned, its large “leaves” require metal rings on the fore-edge.

100% An Artist’s Bible (2025) Dimitris Skourogiannis
Japanese paper, cardboard, wood, fragments of porcelain objects, print, metal rings, acrylic pains, fabris, tulle, and metallic threads. 500 x 350 x 140 mm.
Photos: Books On Books.

Thick leaves seemed to be the order of the day. On heavy black card, Thodoros Brouskomatis’ 10 Artificial Prayers (2025) presents surreal collages challenging the theme of “Madonna and Child” and couplets from Pier Paolo Pasolini’s “supplica a mia madre”.

10 Artificial Prayers (2025) Thodoros Brouskomatis
Printed digital artworks on photographic paper, cardboard, and leather. 300 x 250 mm.
Photos: Books On Books.

On slightly thinner card, Aris Stoidis’ To the other side and back (2025) carries a sculptural image on every page. The work straddles the borders of sculpture, photobook, and artist’s book. Stoidis writes, “Ever since my first pieces, I have been “receiving” images that I’ve materialized without really comprehending them myself. They simply exerted an inexplicable power on me.” The book comes in a plexiglas box with a papercut sculpture (not pictured here).

To the other side and back (2025) Aris Stoidis
Photographic prints on card. 270 x 270 x 20 mm.
Photos: Books On Books.

On still thinner leaves, Ismini Bonatsou’s Little Red Riding Hood (2025) nevertheless projects striking depth with its montage of papercut pages, acrylics, and pencil. Just as striking is the contemporary reversioning of the fairy tale.

Little Red Riding Hood (2025) Ismini Bonatsou
Acrylics, pencil, and papercuts. 450 x 300 mm.
Photos: Books On Books.

Given that the portmanteau term “bookmorph” comes from Michael Hampton, it seems appropriate that he has two works on display. Although one of them is under glass, 12 Chairs (bookmorph) (2012), the other is not. RAGE PEN by Hampton and David Blackmore is the UK contingent’s only work produced in 2025. Others from the UK contingent include Sarah Bodman, BOOKEND, Jonathan Callan, Joe Devlin, Stephen Emmerson, SJ Fowler, Rowena Hughes, and the Inscription Journal editors (Gill Partington, Simon Morris, Adam Smyth). RAGE PEN is also particularly appropriate because it requires a ruler to separate its perforated fore-edges. The exhibition provides one along with multiple pairs of white gloves. Really hands-on.

The participating Greek artists also include Eleni Angelou, Nikos Arvanitis, Rania Bellou, Maria Bourbou, Natassa Chelioti-Naga, Ioanna Delfino, Anna Dimitriou, Antonia Iroidou, Eleni Kastrinogianni, Peggy Kliafa, Alexia Kokkinou, Georgia Kotretsos, Nikos Kryonidis, Vasiliki Lefkaditi, Eleni Maragaki, Kyriaki Mavrogeorgi, Despina Meimaroglou, Christina Mitrentse, Fiona Mouzakitis, Kiki Perivolari, Stamatis Schizakis, Ifigeneia Sdoukou, Christina Sgouromiti, Danai Simou, Nectarios Stamatopoulos, Despina Stavrou, Evangelos Tasios, Yannis Tzortzis, and Leonie Yagdjoglou.  

Congratulations and thanks to the curators — Christina Mitrentse, Fiona Mouzakitis, and Despina Stavrou — for bringing together this selection of outstanding works.

The Hellenic Centre opens at 11:00 and closes at 17:00, Tueday through Friday, so the chances to visit by the 28th of November are limited. The brief catalogue that documents the exhibition and these few photos cannot substitute for tactile engagement with the works on display. An hour and a half passed in a flicker.