Haris Epaminonda formulates a syntax of remembered stories. Making the act of remembering itself the subject and the content of her artistic thought, she creates loose structures from photographs, images, books, films and sculptures. She frequently works with found materials, with faded travel photographs, pages from antiquated nature magazines, ethnographic artifacts, classical sculptures and film materials from old television series. From these props, she assembles complex ensembles that have the look of exhibits, constructing associative paper, film and spatial 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 open boundaries and to establish a poetic cartography.