2024 — Experimenting
2024 — Preparing New Directions
In 2024, Sergis Adamos began preparing new work that would later develop into his 2025 exhibition programme. This period focused on expanding the possibilities of fused glass negatives, testing new formats, and moving several collections toward larger installation-based presentations.
The new works continued to emerge from century-old fused glass negatives, where humidity, pressure, and chemical deterioration had caused photographic surfaces to merge. Rather than presenting these plates as historical artefacts alone, Adamos used their altered condition as the basis for contemporary digital works, prints, and mixed-media compositions.
This research extended the visual language of Metamorphosis, placing greater emphasis on scale, installation, colour intervention, and the movement from individual images toward larger bodies of work. The year marked a shift from isolated experiments toward a more structured artistic and archival direction, where deterioration became not only a source of imagery but a method for building future collections, exhibitions, and the developing image bank.
In 2024, Sergis Adamos began preparing new work that would later develop into his 2025 exhibition programme. This period focused on expanding the possibilities of fused glass negatives, testing new formats, and moving several collections toward larger installation-based presentations.
The new works continued to emerge from century-old fused glass negatives, where humidity, pressure, and chemical deterioration had caused photographic surfaces to merge. Rather than presenting these plates as historical artefacts alone, Adamos used their altered condition as the basis for contemporary digital works, prints, and mixed-media compositions.
This research extended the visual language of Metamorphosis, placing greater emphasis on scale, installation, colour intervention, and the movement from individual images toward larger bodies of work.
In 2024, Adamos reconfigured the Almost Vanished Friends collection into a wall installation, bringing together all forty characters. Each work was printed and then developed with acrylic intervention, shifting the collection from individual portraits into a collective installation of damaged, altered, and reactivated figures.
His experimentation also focused on the physical and visual qualities of the fused plates themselves, examining how surface damage, accidental layering, and chemical marks could generate new forms beyond the original photographic image.
A significant moment in 2024 was the presentation of Out of Nowhere as an installation in Paphos. The work extended the project beyond portraiture by transforming deteriorated surface areas into abstract landscape-like images, resembling aerial views, geological formations, water, forests, and unstable terrains.
Adamos also spoke at a symposium dedicated to Dr. George Kehagioglou of the Aristotle University of Thessaloniki, reflecting on the relationship between visual art, memory, literature, and cultural inheritance.
Work developed during 2024 also contributed to the direction of the 2025 exhibition, Whatever Remains, Turn It Into Art, which continued the project’s investigation of resilience, transformation, and the artistic use of damaged photographic matter.
These developments marked a shift in the project: from individual works and collection-based experiments toward larger installations, clearer archival categories, and a more structured long-term direction for the archive.
Almost Vanished Friends
2023