From an aesthetic point of view, the current suite of photographs fits into at least two stylistic tendencies of contemporary art, but it also attempts to transcend both of them.
The first, and most evident, is the line of individual pseudo-mythologies, in which the artist creates a pseudo-legend composed of images, motifs, experiences, visual and musical perceptions, readings, and personal visual searches from the artist’s own life experience. This pseudo-mythology is not only the representation of individual artistic consciousness, and artistic sensitivity, but also a kind of fresco of the world we live in, the times we experience, and those that are emerging. In my view, the visual artist is the seismograph of the human world, who keenly observes the fate of human beings, and the human condition in the world we live in, and expresses it through the aesthetic and technical means of our days.
The second aesthetic-stylistic line in which the photographs from this collection fit is that of analytical art. Analytical art focuses on the study of visual language, but it does not do so conceptually through theoretical discourses, but rather in a plastic manner, using precisely the elements of its language: line, point, light, shadow, color, structure, composition, and texture. Through these photographs, I attempt to achieve such photo prints in which the virtues of the artistic language are visually even more expressive, striking, and capable of bringing augmented visual impressions.
All photographs were taken with a digital camera or mobile phone and are printed with the gumoil technique. Gumoil is an alternative printing process that is fairly recent, being invented in 1990, that employs hand-made printing, thus creating unique photographic artifacts.
All artworks are 20 x 30 cm.