Zoumboulakis Gallery presents the new solo exhibition by Peggy Kliafa titled Healing the grid, an installation based on the intersections of art and medicine, curated by Dr. Sozita Goudouna. The exhibition features a large central chandelier-like sculpture and illuminated columns made of capsule pills, as well as a series of wall-mounted and sculptural assemblages created from pill blister packs. The installation is completed by a large wall collage made of pharmacy bags.

The curator writes: “The grid is the silent dictator of modernity. It structures our cities, our screens, and even our medicine cabinets. From the relentless right angles of Manhattan’s skyline to the clinical precision of pharmaceutical packaging, the grid imposes an illusion of order upon the chaos of life. Yet, beneath its rational veneer lies a paradox—it both sustains and suffocates, heals, and controls.

In her solo exhibition, Healing the grid, Peggy Kliafa’s work confronts this duality, drawing upon the ancient ziggurat as a counter-symbol to the flat, oppressive logic of the modern grid. This exhibition does not merely present an aesthetic contrast between two forms (the rigid grid and the ascending ziggurat) but stages a philosophical and historical confrontation. The ziggurat, a sacred structure from Mesopotamia represents a different way of understanding space, health, and society—one that was holistic, stratified, and spiritually engaged. Meanwhile, the modernist grid, with its cold efficiency, reflects our contemporary condition: a world where systemic health crises—pollution, urban alienation, mental health epidemics—are met not with structural change but with pills, quick fixes that mask rather than mend.

Kliafa’s work, deeply engaged with the intersections of art and medicine, interrogates this condition. Her art pieces and installations dissolve the rigid grid into aesthetic, and pulsating forms, suggesting that true healing requires not more control, but a reconfiguration—an ascent, like the ziggurat’s tiers, toward a more integrated, spiritual, and aesthetic way of being.

Our era is defined by a pharmaceutical dependency that mirrors the grid’s logic: instead of addressing the root causes of illness—environmental degradation, alienating labor conditions, social fragmentation—we are given chemical correctives. Antidepressants for despair induced by late capitalism, statins for hearts burdened by processed diets, anxiolytics for minds strained by hyper-connectivity. The grid, in this sense, is not just an architectural principle but a metabolic one—a system that manages symptoms while ignoring the disease.

The exhibition unfolds as a dialogue between the imposed order of the city grid and the organic yet algorithmic logic of the body. Thus, Healing the grid is not merely an aesthetic inquiry but a critical reflection on how modernity’s architectural and artistic ideals are inscribed onto the flesh—both the body politic and the physical body. In Kliafa’ s vision, the grid is no longer just a structure; it is a living, breathing entity, a map of both the city and the self”.