• in their Dark Places

    At the antipodes of the project EstrangeR, which focused on the displacement and the processes of dissociation and alienation, the series in their Dark Places is a homage to everyday people who have offered me human shelter. A kind of sanctuary with appropriated though inverted pictorial values of the typical Orthodox religious paintings, including the replacement of the "sacred article" for an object that the portrayed would save from their homes in case of expulsion and urgent evacuation. A fictional context was created as a reflection on the new reality of the "desahucios" in contemporary Spain, the official evictions due to bank debts, a kind of simulation where People grasp the essential, trying to stand still inside their own Dark Places.
  • EstrangeR

    EstrangeR is the imprint of four years' experience as a voluntary immigrant from Greece to Spain. The broad area of two geographically opposite European borders and part of the in-between continent form the stage of this incomplete transitional route, which is attuned in a way to the recent critical situation in Europe and the fissured coherence of its common project. The body of images consists of three parts; their different photographic approach serve as an index of the subjective psychological changes that lay behind the photographic act, but at the same time as ex-post narrative junctures of dispersed visual traces of life.
  • Universal States

    A European that has never previously been to the USA still knows a lot about the country’s highlights, especially when talking about New York and the legendary Far West. A vast number of visual fragments and stereotypes have already formed a solid imaginary via the U.S. cultural hegemony and its universal communication channels. But how do real things look like? At which point is it possible to disassociate the myth, the virtual and the expectations they generate from what really exists beyond the symbolic realm?
  • boaTmen

    The funeral offices in Greece, numerous and fully integrated in modern commercialized society, look at first sight like any company with legal action and public exposure. However these "shops" are differentiated mainly on the symbolic level, as a sort of ultimate boundary between the society of the living and the realm of the dead, reflected in their functional and aesthetical organization. This photographic investigation is also focusing on people working in the funeral offices and on the atypical conditions of their work, mostly at the limits of social prejudice and superstition, in a daily context of partial isolation and endless wait.