The totality of the artwork that composes Nekyia describes my personal vision of the underworld, the world of the dead, through a symbolic ensemble of different cults based on Ulysses’ descent in the homonymous chapter of the Odyssey. Based on the unification of symbols and rituals of different cults, I conclude in the creation of a sanctum to death as a universal deity and not as a concept or situation. The demolition of Divine forms and archetypes of any cult and the emergence of death itself a tangible entity is accomplished with the use of dead beings, Christian, Egyptian, Masonic, and Buddhist symbols and concepts and, in the end, shamanist and primitive rituals, all of which are combined at the zero point which is death. Through a multicultural religious prism a polymorphic cult of death is born — but not of a patriarchic religious figure – transforming me into both a medium and a pilgrim.

The five mixed-technique paintings that compose Nekyia resemble four gods of the underworld from the ancient Greek pantheon and an independent god, sleep. Their attribution consists of symbols from different cults, but their basic forms are rendered on their own symbols. Giving great importance to the stories of gods themselves, I create their non-virtual “portraits”. Placing these five forms into a popularized order, identical with the one on the altars in the temples of the Christian Orthodox churches, and through different procedures and techniques which evade the ones of painting and interfere with the ones of anaglyph, collage and music, I deliver – in the end – an integrated, urban “sanctum”, hidden from most people, a place to worship death. Using paraffin, limestone and the body as basic materials, I ascribe this altar as a place of post-modern worship of death, sterilizing the fear, the morbidity and the repulsion that typically exist at its image.