This is the top half of the piece. It is worth noting that while some of the exhibits work well at night, this is not one of them. It isn't illuminated so you won't be able to see it.

It's difficult to photograph the entire piece, because of the differences in lighting. But I gave it a go, and tweaked it a bit in post.

The path of the exhibition takes you through some of the catacombs, which are great fun to explore in their own right. This is one of the main purposes of the show. As well as giving people some interesting art to look at, it is introducing them to a part of Paphos they have probably overlooked up until now.

So far I had seen three of the seven pieces. I knew that the fifth one was on top of the catacombs, as I had passed it when I was doing my film the previous day. At the time I didn't know it was an art exhibit and just thought it looked a bit weird. In my defence they hadn't put the sign up yet. I think I may have seen the artist hoofing some equipment about and assumed he was an archaelogist. Well, it was an easy mistake to make, as they would both have a reason to carry a paintbrush.

Anyway, I was on my way to the fourth piece and spotted the final one through an arch. This is a quick peek of it.

Now, I am a sucker for Christmas Illuminations, and can't wait to be able to film them with my new low light camera this winter. So the next piece, promising neon lights no less, I found very appealing.

This is the first part of the information page. There is more so scan the code with a phone to read it:

In Porphyran and Visson, Marianna Constanti reactivates the symbolic layers and ritual flows of the ancient Mediterranean taking as her anchor the Bolinus brandaris, or murex - a modest shell which, as early as the first millennium BCE, became the source of an extremely rare pigment - Tyrian purple. Recent archaeological excavations reveal the importance of this mollusk within a complex system of religious and political exchange. Far from being a mre raw material, the murex was embeedded in a sacred economy- a system in which the proudction, circulation, and use of a substance - here, purple dye - were intimately linke to the sphres of ritual, authority, and prestige.

In this installation, the artist does not merely represent an archaeological relic: she transfigures it. The luminous outline of the murex, drawn in pink neon, becomes a floating diagram, a spectral presence at the heart of a space carved from stone. This minimal yet powerful gesture re-inscribes the object within an expanded temporality, where contemporary art enters into dialogue with archaic forms of the sacred. Light - an immaterial medium here evokes the survival of a buried memory: no longer a mere trace, but a threshold between the visible and the invisible, between ritual gesture and symbolic resonance.