Maria Zisi’s work belongs to representational art without, however, seeking imitation in a reflective way in the form but in the sense of figurative association of things and ideas. Besides, as Goodman mentions, the holistic nature of an object resists any unclear and vague figurative documentation, so any attempt to manifest an object will be a priori incomplete. In the artist’s work, the figures take their place in the composition after a gradual search for the elements and characters that are intended to become carriers of narratives. According to Heidegger in this process, the work of art realizes the fullness of an essential Being when it emerges from obscurity, activates and stabilizes in its luminosity. Thus, during the drawing of the composition an attempt is made to investigate the essence of human existence which exists only phenomenologically. Finally, the sarcastic mood of Zisi’s works is a consequence of the desire to satirize social representations whose foundations are irrationally structured.In the section with bas-reliefs, her works show strong relief, fluidity of shapes and vague contours. The color itself becomes a sculptural element that highlights the plasticity and imprinting of matter and touch. Her practice pays homage to the ancient artists who carved history in stone, but despite the great fascination that ancient Greek art has held and the deeper appreciation for the sculptural tradition that continues to shape our artistic landscape, her work has a reinterpretation of classic motifs with contemporary themes and references.