Her winning work, SeaMonster II, continues her acclaimed SeaMonster series. The project uses found objects collected along the shores of Aegina—nets, plastics, and discarded fragments of human life—which are transformed into elements of ritual and performance. In this way, Mylonas turns environmental debris into a poetic testimony on the relationship between humanity and the natural world. The piece follows the first iteration, SeaMonster Monk, presented at the Athens Art Fair (2019) and later at WhiteBox NYC (2023).

Her latest project, Lichtung, offers audiences an immersive experience: a luminous world lying dormant until the viewer enters. As one explores its surroundings, the environment slowly awakens, revealing light and hidden wonders. Recently selected for the Annecy International Animation Film Festival in the VR category, Lichtung exemplifies the evolving potential of animation when fused with virtual reality technologies.

No horses on Mars unfolds as a road film, but from a unique perspective: that of a horse. The narrative introduces viewers to the galloping mind of domesticated horses, reflecting on humanity’s attempts to measure, record, and know them as objects. Yet, through its cinematic language, the film suggests glimpses of individuality and recognition beyond domestication, questioning the relationship between human perception and the natural world.

His awarded work, The Sight is a Wound, is a haunting video-poem reflecting on the limits of image-making in the face of modern atrocity. In response to the genocide in Gaza, Ghalamdar set fire to over 50 of his own paintings—once exhibited in prestigious shows—turning them into ashes. This visceral act of destruction becomes a meditation on silence, despair, and the collapse of visual language in an age of digital excess and emotional numbness. The work is not a call to action, but an elegy for images themselves, questioning what remains when the visual world fails us.

Goin’ Down The Road is an ongoing project that reimagines Toronto through popular film fragments, archival materials, and contemporary wide-angle video. By layering cinematic inconsistencies, dialogue snippets, and fractured sequences, Donnelly creates a portrait of the city as both real and fictional. The work forms a document of Toronto’s cultural and urban evolution, distilling truth from an ever-growing archive of memory and make-believe.