“Although photography is the main medium that I use, I am strongly influenced by painting and sculptural practice.
I would define the procedure that I follow as “meta-directing”. For me the hunt of the ‘true’ image is not the goal as in documentary photography or photojournalism, but rather the search of a raw material. I treat each photograph as an “object trouve”. The use of current technology allows me to shape at will the digital image in order to reflect the idea that I have in advance in my mind, in that way post-processing isn’t just a corrective method but becomes a creative process through which directing after the actual shooting of the picture is possible.
The resulting images are at the boundary line between plausibility or not, potentiality and non-potentiality, random and constructed.
Playing with the perception of viewers I question the role and power of photography in an era that is dominated by it.”
In this stagnant space, in this gap between eras, familiar Greek landscapes look bizarre, cut off the real world, pending for their unknown fate, as a visualization of the inner state of their inhabitants. The horizon is hidden behind thick fog preventing us to see what’s yet to come.
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