Dora Economou’s practice references both the works of women artists from the 1970s, who experimented with material in relation to handicraft and household work, as well as the expressionistic, post-feminist sculpture of artists such as Isa Genzken or Cosima von Bonin. Visually, her work also quotes contemporary sculpture associated mainly with the Glasgow scene of the 1990s, as well as a new generation of German artists (grouped in exhibitions such as ‘Formalismus’) who explore the legacy of modernism in connection to contemporary design, architecture and pop culture. Nevertheless, Economou’s work is less an exercise in form and the way space produces identities, than an impulsive, non-rationalized process used to convey a personal narrative. Although Economou does not speak directly of herself and her life, her works are imbued with references to her own cultural interests, her obsession with collections (of words, of insignificant materials), and her devotion to performing useless tasks. The traces of her successive interventions imply an ongoing performance whose primary function seems to be to help her keep her hands and imagination busy.