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Anthromorph are an initially anonymous digital persona used to navigate and perform identity without the constraints of societal judgment due to face dysphoria. As their transition progressed, Anthromorph evolved into a mythological being, symbolizing the state of constant mutation and the transcendence of traditional identity boundaries. Parallel to this, their personal identity as Constantine emerged, reclaiming visibility and agency, thus completing the mitosis of their digital and human selves.

Hello Antromorph and welcome to Coeval! How would you introduce yourself to our community?

I'm Anthromorph, a species identity which means figure in the shape of a human. Not a human. I am deeply inspired by the interdependent patterns and systems found in nature. My work explores themes of posthuman identity, mutation, and the fluidity of form. I started by creating masks and exoskeletons using materials like silicone, blending organic textures with synthetic to challenge traditional notions of being human. Now I have transitioned into making physical statues with these anatomies (echoing the Kouros and Kora statues of ancient Greece).

My journey with gender dysphoria has also profoundly shaped my work. Art serves as a therapeutic process for me, allowing me to navigate and express my evolving sense of self.

In essence, my art is about breaking down barriers—between human and non-human, technology and nature—and celebrating the interconnectedness of all life forms.

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What is the relationship between your ever-morphing identity and digital platform? On the one hand, one could say that anonymity offered by the digital realm can allow a less constrained exploration of one’s own identity, but on the other one it is also true that algorithmic intelligence tends to be very prescriptive chaining us to a precise set of data that describes a comprehensive identity.

The relationship between my ever-morphing identity and digital platforms is indeed a complex one. I had no sense of self when I began my art. Growing up in a queer-phobic place forced me to dissociate from my instinctive needs to survive. Anthromorph was a substitute identity for my cyber existence. Through the empowerment anonymity gave me, I allowed myself to transition publicly. Slowly, after 2 years of this performance, Constantine emerged, my human self-perception. Like mitosis, one became two.

On one hand, digital platforms offer a unique space for exploration and transformation. The safety from physical violence and anonymity of the digital realm allowed me to sample gender and different facets of my identity without the constraints imposed by societal norms.

However, as you rightly pointed out, there's also an inherent tension with algorithmic intelligence. Algorithms are designed to categorize and predict based on data patterns, forcing identity conception through micro trends. I did not start this during algorithm supremacy and I observed the downfall of my platform as these updates were implemented during the BLM movement and Covid.

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What role does cyborg theory play in your performance? Are you interested in the work of CCRU? I’m especially thinking of Sadie Plant.

Cyborg theory and the work of thinkers like Sadie Plant provide a critical framework for my performances. They help me to articulate and explore the fluid, hybrid nature of identity in the digital age, and inspire me to push the boundaries of what art and performance can achieve in reimagining the future. Cyborg theory is a cornerstone of my performance art, serving as both a conceptual framework and a practical guide for exploring the fluid boundaries between humans, animals, and tools. Donna Haraway's "A Cyborg Manifesto" has been particularly influential in shaping my understanding of identity as something transcending traditional categories, and how bonding with tools can allow for temporary unique bodies/awareness of bodies.

By wearing masks and exoskeletons made from silicone and other materials, I become a living hybrid.

The CCRU's exploration of hyperstition—the idea that fictional concepts can influence reality— is a concept I have seen working deeply with my artistic practice. I strongly believe in the power of myth-making and speculative futures as tools for cultural transformation. I constantly receive messages from my anthromorph kids expressing how these visuals of trans anatomy and post-human power helped them in accepting themselves and the monstrosity they internalized by society. CCRU I am waiting for my invite!!

How do you integrate your physical agency into your online presence?

My journey began from a need to escape the confines of my physical form, driven by gender dysphoria and a deep sense of disconnection from my body. This led me to explore digital and virtual spaces where I could experiment freely with my identity and presentation without the immediate judgments of the physical world.

Initially, I created masks that obscured my physical form, allowing me to perform without feeling the direct gaze of an audience. This was incredibly empowering as it gave me a sense of liberation from societal expectations and norms. Platforms like Instagram have played a crucial role in this integration, offering opportunities for anonymous social performance experimentation and adaptability beyond physical limitations.

The process of integrating my physical agency into my online presence is deeply therapeutic and empowering. As I navigate my gender dysphoria and the limitations imposed by societal norms, creating and sharing these hybrid forms allows me to reclaim and redefine my body on my own terms. It’s a continuous dialogue between my physical self and my digital persona, each informing and enhancing the other, ultimately creating a cohesive narrative of my identity as Anthromorph.

Social media allows me to disseminate these images and videos to a wider audience, creating a dialogue about identity, body politics, and post-humanism.

Hellenofuturim appears to be a constant reference in the project: how can the decolonization of Greek mythology help us envision a different future? Mark Fisher thought that the omnivorism of the capital had dissolved the future; is looking back a way to circumnavigate this impasse?

Hellenofuturism is a term coined by Mia Sea, who is an evolutionary designer exploring avenues for futurist polymathy that can help us create a better world. She invited me to be part of the Hellenofuturist Foundation as a council member so that we can dive deeper into Hellenofuturism together. The purpose of Hellenofuturism is to tackle this delicate task of untangling the role of the Greek legacy in the world and finding ways of bringing Greek people back into the conversation about the future of their own culture, which now, unfortunately, became very detached from Greek agency.

Greek heritage and legacy have often been co-opted by Western colonial narratives to reinforce certain ideals—patriarchy (heavily present during ancient Greece), heroism defined by conquest, and rigid gender roles, establishing white supremacy and the authority of europeans to become the “givers” of culture.

By reclaiming and reinterpreting these myths, we can uncover and celebrate the fluidity and hybridity that were once integral to these narratives.

Ancient Greek culture did not strictly adhere to binary notions of gender and sexuality. There are myths and stories, such as that of the upbringing of Dionysus as a female, the trans priestess of Artemis, Achilles doing drag, oracles that spend half their life as female and half as male, the Spartan’s homoerotic relationships. These stories, along with the plethora of hybrid beings speak to transformations and fluid identities, that resonate deeply with posthumanist thought. This rich history of gender and sexual diversity was suppressed by later colonial and Christian influences that imposed rigid, binary norms.

Mark Fisher’s notion that capitalism’s omnivorism has dissolved the future resonates deeply with me. The idea that capitalism has dissolved the future speaks to the way our current system often limits our imagination to what is immediately profitable or feasible within existing frameworks. In this context, looking back is not about nostalgia but about excavating the past for elements that can inspire and inform new ways of thinking and being. The process of looking back to ancient myths and practices, especially through a decolonized lens, allows us to reclaim narratives that have been appropriated, suppressed or marginalized by capitalist and colonial forces. It's similar to how some plants use their deep root systems to access nutrients from past layers of soil while still growing towards the future.

I believe that no contemporary feminism can succeed without fully integrating anti-speciesism into its practice and I believe that your work clearly shows how the rejection of binarism cannot be limited to gender. Would you like to elaborate on that?

I completely resonate with your perspective. The rejection of binarism indeed extends far beyond gender, and integrating anti-speciesism into contemporary feminism is crucial for a truly inclusive and transformative approach. My work aims to embody this philosophy by blending human, animal, and mythical elements to create hybrid forms that challenge conventional boundaries. These creations are not just artistic expressions but also statements against the artificial separations imposed by societal norms

In nature, we see countless examples of fluidity and interconnectedness that defy rigid categories. Just as ecosystems thrive on diversity and the interdependence of various species, our social frameworks can benefit immensely from embracing these principles. By rejecting binarism in all its forms—whether it's gender, species, or any other arbitrary division—we open up possibilities for more holistic and equitable ways of living.

Antispeciesism is an essential component of this broader rejection of binarism. It challenges the hierarchical view that places humans above other life forms, advocating instead for a recognition of our interconnectedness with all living beings.

Moreover, this integrated approach encourages us to rethink our relationship with nature itself. Instead of viewing ourselves as separate from or superior to the natural world, we can see ourselves as part of a larger web of life—a concept deeply rooted in many indigenous cultures but often overlooked in Western thought.

In essence, rejecting binarism across all dimensions—gender, species, and beyond—allows us to envision a future where diversity is celebrated rather than constrained by arbitrary divisions.

Capitalism has largely reduced ALL lifeforms into commodities for exploitation (from bacterial to plant to animal). Integrating anti-speciesism into contemporary feminism means advocating for the rights and well-being of all lifeforms, regardless of species. It calls for an end to practices that exploit female bodies—whether human or animal—and promotes a vision of liberation that encompasses all forms of life.

talent CONSTANTINE SEMIRAMIS KALOUTAS/ ANTHROMORPH

photography MARIA KOUTROUMPI

art direction MARIA KOUTROUMPI, ELEKTRA AVGOULI & VINYL

styling VINYL

make-up AGGELIKI TRIKOGIA

hair ALEX METAXOULIS

nails ELEKTRA AVGOULI