ĚÇĐÄÍřŇł°ć

23 June 2026

During her year as guest professor at LiU, Theopisti Stylianou-Lambert found new ways to develop and articulate her work at the intersection of art, research and society. It also marked the starting point for 23% Complete, a new project centred on questions of AI, image-making and environmental impact.

En kvinna står framför en grön vägg. Photographer: Thor Balkhed
Visiting Professor Theopisti Stylianou-Lambert.

During her year at Linköping University as visiting professor in the name of Moa Martinson, Theopisti Stylianou-Lambert has taken part in seminars, conferences, talks, exhibitions and trips. She is grateful for the exchanges that she received through numerous of engaging formal and informal conversations. She highlights Tema Q’s weekly seminars as particularly significant noting that they provided opportunities to engage with guest speakers, discussions about texts, artworks and research proposals.

When you arrived at LiU, you spoke about working at the intersection of art, research, and society. How has that role developed during the year?

“I continue to work at the intersection of art, research and society. However, during my stay at LiU I was prompted to further clarify and articulate my working methods.”

Over the past year, she has been working on a book titled Reframing Archaeology: Photography, Archives and Colonial Cyprus, which brings together and reflects on five of her art and research projects. The book is part of Bloomsbury’s Contemporary Art/Archaeology series, edited by Doug Bailey and Monika Stobiecka.

“As the series addresses both academic and artistic audiences, one of the key challenges was to find an accessible tone and language through which to discuss my art-based research practice. This process proved invaluable because it helped me to better articulate my working methods and their connections to broader societal concerns, including decolonization, archival activism, and artificial intelligence.”


Where research meets art

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Theopisti Stylianou-Lambert from Cyprus talks about how combining research with art can enhance creativity – and reflects on her year as a visiting professor in Sweden at LiU. Film: Daniel Kalmlin

Art and research project inspired by Swedish embroidery

Theopisti Stylianou-Lambert also describes how this work, together with her encounters within the research environment and Swedish second-hand shops, helped pave the way for a new and unexpected project. It is titled "23% Complete".

“This art and research project explores questions related to artificial intelligence, image generation, and their environmental impact. The project was presented as an installation at the Museum of Work from 3 June to 31 July 2026, and it features a series of cross-stitched embroideries. The installation draws attention to parallels between commercially produced cross-stitch embroideries from the 1960s–80s, which I found in Swedish second-hand stores, and commercial AI-generated imagery.”

The installation shows how text-to-image generative AI platforms “stitch” together synthetic images from “second-hand” visual material. The images can be considered kitsch and echo older commercial cross-stitch embroidery kits.

“This project was only made possible by the year I spent at LiU, surrounded by generous colleagues who continuously offered their time, insight, and support. Their willingness to exchange ideas and share expertise shaped the work at every stage. For instance, the initial concept for this artwork emerged during a train journey from Norrköping to Linköping, in conversation with Bodil Axelsson about small data, big data, and AI. Bodil Axelsson remained closely engaged throughout the entire process of the work. Konstantine Economou, an expert in second-hand shops, introduced me – and drove me – to places I would not have discovered on my own. Sebastian Rozenberg contributed thoughtful reflections on text-to-image processes in relation to the work. Therese Nilsson welcomed me into her cottage and talked about her grandmother’s embroidery. Mattias Åkeson guided me in working with decals, and Josefine Höijer generously provided the exhibition space at the Museum of Work. Each of these encounters played a vital role in the development of the project. This work is a good example of the strong spirit of collaboration that exists at Linköping University.”


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