By delving into the archetypal prototypes, Giota Andriakaina, makes use of the thread as the basic means of her artwork. In fact, she controls this very means by taking it through all the traditional processing of taming or purifying it by either twisting it around or by dyeing it. In her eyes, the fragile and at any rate perishable, thread becomes stronger and durable when it is twisted in yarns which function as pixels to form the constituent units that work together to create the work of art.
Using iconic works of art as a starting point, the artist creates her self-portraits, by intervening on the original through the use of her own means, the thread. By using this means she manages to recreates, or even complete alter and hide the original which she ends up tampering with by adding depth to the initial topic which is always the woman. Her needlework and her yarns are sometimes submissive and other times rebellious to the point of autonomy from the safe original which has given value as it has been executed by one of the great Masters. This act of rebellion allows the artist to express her own feelings towards each portrait
By collecting material from the lives of the others, which she admits possess alternative relationships with her own life, the artist traces stories that can take on a universal character and can be narrated as part of History with a capital H. By visualizing the narratives of times gone by and distant places, the artist uses the long thread to create frameworks, stress details, create teams and groups which other blend together in monumental unison or at other times are left to become linear citations of partial scenes that create the whole.
At any rate, as the artist herself is critical towards the topic of her creation, her works of art, give rise to intense feelings which in their core refer to political experiences which are common to all and understood by all.