From Her to the Moon belongs to MOTHER!, a body of work examining what passes from one woman to another through words, gestures, images and bodily traces. Here, this transmission begins with the first female body Kosmatopoulos knew: her mother's, and more specifically her breast.
Before becoming an erotic image or a cultural symbol, the maternal breast entered the artist's memory through physical proximity — nourishment, warmth, protection and the experience of being held. As an adult, Kosmatopoulos returns to this early attachment through childhood photographs of herself with her mother. Revisited and romanticised over time, these images have become fragments of an idealised past that photography can preserve but never restore.
In the collages, the family photographs are combined with close-up images of the artist's own breast. Areolae, pores, beauty marks and stretch marks are enlarged and applied to the surface of the full moon. The body becomes an unfamiliar terrain: the breast reads as a celestial body, while the moon acquires the intimacy and texture of flesh.
Traditionally associated with femininity, fertility and cyclical time, the full moon is transformed here by the particularities of a real body. Its surface is no longer distant or abstract. It is made from skin — irregular, marked and mutable. At this scale, the breast ceases to be perceived as a single anatomical form and becomes a malleable space, capable of generating an infinity of landscapes and possible forms.
The collage does not ask the breast to prove virtue or invite desire — the two positions it has most often been assigned. It desexualises the breast without disembodying it, turning what has usually been read as an object of satiety or desire into a malleable form capable of taking on infinite shapes: not one image of femininity, but all of them at once.
The artist's adult hands reach towards the lunar form. They attempt to hold an image that belongs simultaneously to her mother's body, her own childhood and the body she now inhabits. The gesture turns the breast into a link between women and between generations — a bodily form through which memory and femininity are received, remodelled and transmitted.
The collages are mounted on dimensional, laser-cut wooden structures rather than presented as flat images against the wall. Their physical presence brings the photographic body into the exhibition space. Each structure rests on wheels, allowing the work to move rather than remain fixed in one position.
This mobility is part of the work's meaning. The relationship represented here does not remain confined to childhood or to a family photograph. It is carried through life, moving with the daughter and continuing to shape how she remembers, constructs and experiences her own body. Like the wheeled structures, this inheritance is never entirely fixed: it follows, shifts and is continually repositioned.
What the daughter receives from the mother is therefore neither preserved intact nor repeated identically. It is given another body, another scale and another form.
The daughter reaches for the mother and encounters herself.
