ghosting myself began as a visual diary: phone-shot videos I could have shared, but I didn’t. Resisting the urgency to post, I treated video-making as a delayed, replayed act of sharing, attentive to the temporalities and tools of the social media culture. The clips, lifted from my camera roll, passed through Instagram filters that slowed them, blurred them, glitched the now, softened identity. After the first cut, my video felt wrong: I had rebuilt the logic of the feed. So I turned the piece inside out. I used AI to translate the representational beyond its regime, making diagrams that show how the footage beats: heartbeats in tracks and markers, waveforms saying almost, not-yet. That first cut survives as a hole that sets the tone for the whole. I wanted my online subjectivity to appear otherwise, legible but not obedient. I layered in what I carry around: the sea filmed by my brother; a page from Lispector’s Água Viva; my reflection in a metro window; one boy in a ‘sorry mum’ t-shirt at the Pride in Thessaloniki; crossing my favourite park with a friend; the view I watched every night in July from a sublet in Berlin, going to bed at dawn; a Stuart Croft video at Leeds Art Gallery; a page from Daniel Rubinstein on photography and psychoanalysis; two sentences highlighted in Maggie Nelson’s Bluets; a woman waiting at a café by the Opéra. Not proof, but remainder. Images kept as glitter to carry around and within. A moving image that tries to look from the inside out, choreographing the small weather of feelings, and to say, almost silently, as if asking for permission: I wrote a poem. Can I read it to you?

Evangelia Danadaki is an artist and researcher working with video, performance, and film. Her work is situated at the intersection of visual art, feminist philosophy, and psychoanalysis, conceptualising imaging as a practice of plurality and affection. Currently, she is a PhD candidate at the University of Leeds (School of Fine Art, History of Art and Cultural Studies), recipient of the Amanda Burton Scholarship, and an Associate Editor at Parallax. Recent work has been presented at the Association for Art History (University of York, 2025), the American Comparative Literature Association, and the Samuel Beckett Society Conference (University of Edinburgh, 2025, and California State University, 2024).

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