Solo:
“Τhe shadow of things”, ARIADNE – Web Photo Gallery (2015)
“The 12 compartments”, Railway Carriage Theater (2011)
“Landscapes of Greece”, Podilato Café (2010)

Group:
“Pause: Pause”, Open C.A.S.E 303 (2014)
“Tsepelovo over Time – the people and the place”, Tsepelovo (2012)

The Shadow of Things

Interview of the exhibition under the curation of Costis Antoniadis


ariadneThe exhibition “The Shadow of Things” presented and can be visited on the digital platform of Ariadne Photo Gallery.

There are many ways to describe what one observes happening around them – especially those things to which they are emotionally vulnerable. When it comes to photography, I think this is exactly the point where the use of the means changes, where the purpose of taking pictures changes. This is when one goes past the stage of observing an image and uses it to define where they stand in relation to it, thus offering a new reading of reality by testifying their personal version.

I use photography to picture all the things that I have difficulty putting into words. For me, it is an inner process, though often not an absolutely lucid one. I isolate elements of everyday life and I create metaphors – pictures that hover between reality and fantasy. For me, these pictures principally function as symbols, but they can eventually mean something different to each viewer. If there is something that connects them, this is the common approach to depicting people or spaces that imply human presence.

I try to devote time to observation, whether this is of a person, landscapes or routes across the city.

I often direct my photographs. I start with a specific theme in mind or a general idea about what I want to photograph. In a way, I imagine the pictures but this is not necessarily unconditional. I succumb to unforeseen circumstances, leaving my initial idea behind, drifting elsewhere. For example, I get carried away by spatial details, by the light, by a person’s expressions and movements, as well as by their wish to participate. When such cooperation emerges, I am the one to follow my theme, no longer trying to define or restrict it.

Sometimes, I choose my frame out of sheer instinct, without being able to explain why. Why this theme, why this form, why something seemingly insignificant out of so many possible compositions? I don’t know; I feel that the truth lies hidden somewhere out there. It’s like a second reading of my theme, during which something new is revealed to me – something deeper.

I focus on details, I isolate them and I try to transform them into a prevalent theme, into an element that serves as a point of departure. I don’t feel the need to present a complete narrative with a beginning, a middle, and an end. It’s perhaps because my personal narrative isn’t over yet, or because it doesn’t concern anyone.

My stories are made up of the faces I photograph. People that I’m trying to discover. To find something of myself in them, in one of their gestures, in a casual glance. My stories are made up of buildings. They’re not beautiful buildings – they’re old and dark. Or they’re buildings that were abandoned and ravaged by time.

My stories are made up of nature… that is, where man begins and ends.

Everything springs from a personal need – the need to put together my own story. It serves as a kind of diary and filling its pages is my sole purpose. My narrations may lack cohesion but they’re a way to preserve the memory of my own experiences, thoughts and feelings, a form of personal development over time. Better still, it’s about the desire to map one’s course, in the hope that, perhaps in this way, it will never disappear.