The Creepers
The Creepers
Following this path, The Creepers (2025) shapes the first material coordinates of the exhibition field: a cluster of marble, inverted roses gently rests on the floor, introducing the paradox of endurance and decay that permeates the entire visual proposal. Their downward orientation denies the logic of ascension and transcendence, insisting on gravity as a form of continuity. Here, Antoniou establishes a form of resistance that is not confrontational; a quiet persistence that reimagines resilience not as an act of heroism, but as a sustained condition shaped by time.
