Haris Epaminonda formulates memory maps. Making the act of remembering itself the subject and the content of her artistic thought, she displays installations from photographs, images, books, films and sculptures. She frequently works with found materials, with faded image of travel books, pages from antiquated nature magazines, ethnographic artifacts, classical sculptures and films of her own. From these elements, she assembles complex ensembles that have the look of exhibits, constructing spatial and associative collages that bring together places and eras that are poles apart. By means of visual connections and conceptual correspondences, the discards of everyday culture as it is lived coalesce to become fragments of stories, in order to open up a narrative with loose boundaries and to establish a poetic cartography. The poetry of Epaminonda’s objects is developed through their spatial and temporal existence and through remembered and experienced atmospheric situations.