With the financial support and the auspices of Ministry of Culture and Sports, Municipality of Ioannina and the Cultural Center of Ioannina



15th edition of

Photometria International Photography Festival

Duration: 23.9 – 11.12.2023


Photometria International Photography Festival 2023 hosts mοre than 50 artists in 12 exhibition venues in Ioannina, including the new space: Photometria Photography Center (PPC)! The program, as every year, is full of activities for children, photographers and high level lectures. After the end of the festival, selected exhibitions travel to a lot of cities around Greece and abroad.



The entrance is free for all the exhibitions at Photometria Festival

“Emerging Roots”, Photometria Awards 2023


Group exhibition of the 25 selected photographs of the competition Photometria Awards 2023 “Emerging Roots”, judged by Martin Parr!


Catwithacamera [IT] – “Resilience”, Niloofar Balami [IR] – “Sitting alone”, Alena Grom [UA] – “Herbarium”, Artem Humilevskyi [UA] – “Marriage ceremony”, Filip Machač [CZ] – “Untitled”, Martina Martorelli [IT] – “Sixty days”, Sergey Poteryaev [RU] – “Staraya Utka”, Antonio Aragon Renuncio [ES] – “Emerging Roots”, Stefano Scagliarini [IT] – “Dancing with my roots”, Evgeniya Strygina [RU] – “Stay afloat”, Nella Stücker [CH] – “I went missing”, Martina Alice Tolotti [IT] – “Unglory”, Evgeniya Tsoy [RU] – “The grandmother’s cup”, Dimitris Asproloupos [GR] – “Her voguing moment”, Polidefkis Asonitis [GR] – “Karagiozis”, Sakis Dazanis [GR] – “Sunday stroll”, Konstantinos Zilos [GR] – “Untitled”, Mikael Kouragios [GR] – “The roots of tradition”, Markos Kyprianos [GR] – “Untitled”, Isidoros Blougkaris [GR] – “The reflection of a memory”, Miranda Papadopoulou [GR] – “Constructed dream”, Dimitra Stathopoulou [GR] – “The Shepherd”, Panayiotis Tendes – “Bathers VII”, Sotiris Tsiros – “Untitled”, Yiannis Hadjiosif – “Fumiko at Exohi”



Ioannina City Hall (outdoor area)

Duration: 23.9 – 30.11.2023

“Family Album, 1986 – 2022, Pericles Alkidis


“Life is not what one lived, but what one remembers and how one remembers it in order to recount it.”

Gabriel Garcia Marquez

“My engagement with Family Photography for over 35 years could be perceived as a continuously repeated self-portrait that reflects my need to explore, understand, and transform a semi-forgotten past through which I try to manage and, to the extent possible, heal the feelings of inadequacy, rejection, and fear rooted in painful experiences of my childhood. It constitutes an attempt to deconstruct memory in search of my personal identity. An effort to shed light on the usually unseen side of family pathogenesis and to bring order to my memory.”

                                                                                                                                    Pericles Alkidis 


When we look at family photographs, we have the sensation of an uninvited intrusion into the private space of the depicted individuals, a feeling akin to what engulfs us when we enter an abandoned house: walking on tiptoes, as if someone still lives there, we explore the space without knowing what we will encounter. It is a simultaneously unknown and familiar space. Family photographs awaken memories, give birth to images in which we see our childhood again. We see what will happen to us in the future, what has already taken place. They narrate the story of our lives at their inception.

Family photographs typically depict specific situations and individuals. Their placement in frames and their dispersion throughout different points within the house form a unique exhibition of family relationships. As objects, they can be moved, detached from their frames or family album, thrown away, or even destroyed. Faces may be cut out, and eyes may be pierced. Such actions “correct” the family history, erase unpleasant events, or take revenge on certain individuals.

The texts that accompany the four sections of the exhibition are excerpts from critical writings about the work of Pericles Alkidis, authored by Kostis Antoniadis, Iraklis Papaioannou, and Penelope Petsini.



Municipal Gallery of Ioannina (Korai 1)

Duration: 23.9 – 17.11.2023

Mon – Thu: 08:00 – 15:00

Fri: 08:00 – 21:00

Sun: 10:00 – 13:00 & 18:00 – 21:00

Between These Folded Walls, Utopia, Sarah Cooper and Nina Gorfer


What do you hold close? Where is your secret place of belonging? If you had to leave everything behind and begin again — who would you be? Struck by the realisation, that we are living within a loss of Utopia, Cooper & Gorfer reached out to their local communities and interviewed young women whose lives had, in one way or another, been ruptured by the effects of forced migration.

Between These Folded Walls, Utopia emanates from the current political reality. With a deep interest in the human story, the artists imagine a playful utopian theatre, reminding us that we are all caught in the imaginary world of our own interpretations and cultural conditioning. The protagonists in Cooper & Gorfer’s portraits, are drawn from a new diaspora — a young generation of women who have experienced what it means to uproot their lives and sense of self. Their vivid portraits are a judicious and of-the-moment examination of our historical memory and possibility.



Outdoor area of Its Kale (opposite Byzantine Museum)

Duration: 23.9 – 31.10.2023

Mon. – Sun.: 08:00 – 22:00

“The Truth is in the Soil”, Ioanna Sakellaraki


My photographic research started evolving six years ago, when the death of my father sparked a journey back home and the exploration of traditional Greek funerary rituals. Endeavouring to further understand my roots, I expanded the scope of my research on the collective mourning and ritual laments of the last communities of traditional mourners in the Mani peninsula of Greece. In the crossroads of performance and staged emotion, I aim to look at how the work of mourning contextualises modern regimes of looking, reading, and feeling with regards to the subject of death in Greece today. By consciously adding another layer to what has been documented as real, my images work as vehicles for mourning perished ideals of vitality, prosperity and belonging, attempting to tell something further than their subjects by creating a space where death can exist.



The Silversmithing Museum (Castle)

Duration: 23.9 – 11.12.2023

Wed. – Mon.: 10:00 – 18:00


In co-production with Piraeus Bank Group Cultural Foundation

“Forma”, Alfonso Vidal-Quadras


“Forma” explores the body from a state of prejudice-free curiosity.
Nude is one of my main themes and the choice of non-normative subjects aims at new ways of looking at the body and deepen in the ‘hardware’ of the human being, contained and -perhaps- also defined by its body. Blurring the limits between still life, portrait, abstract photography and classic nude, I find myself in a space where rules seem to disappear and where I can investigate with fascination the possibilities of aesthetic ‘imperfection’ as the main subject, as a mere celebration of the forms that a body makes.



Municipal Cultural Multiplex “D. Chatzis” (Old Slaughterhouses)

Duration: 23.9 – 8.10

Mon. – Fri.: 18:00 – 22:00

Sat. – Sun.: 10:00 – 14:00 & 18:00 – 22:00


With the support of the Spanish Embassy

“The World as an Open Studio”, Christos Dikeakos


Since the late 60s he was key contributor, along with Ian Wallace, Jeff Wall, Rodney Graham and Marian Penner Bancroft, to the formation of Vancouver Photoconceptualism “school”, that turned to the photographic documentation of the city. Visible already in his early work is Dikeakos’ persistence on conversing with public space, as a field where the frictions and conflicts between the individual and the collective manifest themselves. Dikeakos focused also for many years on photographic collage, influenced by dada, surrealism and Marcel Duchamp. Becoming fascinated from a young age with the art of the First People, he studied their traditions, participated in community ceremonies and customs and was immersed in cultural practices that deeply influenced his life and artistic path. Ηε was granted by Davidson family of the Haida Gwaii the name guud glàa hlaangn gee (“eagle storyteller”). 1In his iconic series Sites & Place Names (1991, 2015) Dikeakos placed fragments of First Peoples’ history on landscapes photographed with the contemporary deadpan aesthetic, showcasing the potentially multi-faceted history of a landscape and also how colonial expansiveness erased the agelong traces of the First Peoples.

Dikeakos appears to conceive the landscape in his broader work as an open studio in which he studies the osmosis of the dominant narrative with the unofficial, hidden ones. From the small-scale, impersonal black-and-white street photograph to the meticulously staged, large-scale color work, conceptual preparation and lived experience cooperate in his work within a contemporary notion of documentary. A regular motif in his works is to depict transition in the foreground, while in the background modernization projects itself as a firm causality. By depicting nature retreating before the modernist front, Dikeakos focuses on the shifting boundary of ongoing colonization. But why is Dikeakos so consistently and persistently interested in transition? Perhaps because as a first-generation immigrant he moves -geographically and intellectually- between two places and two cultures. Perhaps also because his critique of the modern society, for which everything is constantly new, shallow, and interchangeable, converses with his respect for the authentic tradition of his adopted country. Iranian thinker Daryush Shayegan has argued that many societies are in a state between the not yet and the never again. Not yet, because modernity has almost prevailed as a global phenomenon, but has not been fully assimilated yet. Never again, because modernity’s deep penetration makes impossible the return to a previous state. Dikeakos researches this constantly fluid field through photography, a medium par excellence modern contributing the most to “pictorial colonization”. And as a practiced “eagle storyteller”, he connects the personal with the local and the universal, politics with poetics, in an attempt to comprehend the puzzle of contemporary world and its thorny, colonial relationship to the earth.

Hercules Papaioannou

1First Nations or First People are terms used to refer to the Indigenous peoples and earliest known inhabitants of a territory.



Gallery 3Portes

Duration: 23.9 – 23.10.2023

Mon. – Fri.: 10:00 – 14:00

Tue., Thu., Fri.: 18:00 – 20:00

Sat.: 12:00 – 15:00


In collaboration with Momus – Thessaloniki Museum of Photography

“Polytechnic Here”, Aristotelis Sarrikostas



Photometria Photography Center (PPC) (184, 21st of Fevrouariou str.)

Duration: 23.9 – 10.12

Thur. – Sun.: 17:00 – 21:00

“Homo Saurus”, Noemi Comi


“A long time ago the earth, then uninhabited territory and rich in raw materials, was invaded by the Anunnaki a population of reptiles from the planet Nibiru. The Anunnaki to make the most of the raw materials that the earth had to offer, decided to create a new workforce: human beings. These were generated in the laboratory through DNA modifications. Soon the Anunnaki began to lose their power by mating with humans, giving rise to the so-called humanoid reptiles. This new generation of reptiles is still at the top of power today.”

Homo Saurus is an ironic/critical project that, based on the bizarre conspiracy theories about reptiles, stages an altered and dystopian world. The story is reconstructed through fictional documents that testify to the coming of the humanoid reptiles on our planet and within their home planet Nibiru.

Conspiracy theories about reptilians in recent years are receiving a considerable response, probably due to the economic crisis and the rise of populism. The conspirators present a distorted view of the history of humanity and the cosmos. Their intent is probably to justify their lack of power or inability to achieve work.

The project uses mythological elements to create ambiguous atmospheres, which are sometimes at the limit between reality and fiction; supporting but at the same time debunking conspiracy theories. A sort of encyclopedic gaze that, starting from a vision of the scientific world, rewrites reality and lays bare an attitude typical of hedonistic society: the construction of myths and fictions.



-1 Gallery, The Lounge Bar (Pargis Square)

Duration: 24.9 – 30.11

“In memory…”, Katerina Samara
The project “In memory…” of Katerina Samara unfolds in the foundation of Josef and Esther Gani like the thread of Ariadne from September 25th to October 20th. The artist, based on life stories and personal items of the foundation’s founders, especially of Esther Gani, creates artworks that narrate the story of the building’s owners while stirring up the collective memory of the locals. Since the events that Esther Gani experienced are part of world history, the title leaves the viewer free to connect the artworks with other people and public figures as well.

Iosif and Esther Gkani Foundation

Duration: 25.9 – 20.10

Mon. – Fri.: 9:00 – 14:00

Wed.: 18:00 – 21:00

Parallel Voices


Group exhibition of the 9 selected portfolios of the Parallel Voices competition


Foteini Zaglara (GR), Alexandros Zafeiridis (GR), Vasilis Ntaopoulos (GR), George Skouloudis (GR), Ariadne Fytopoulou (GR), Oskar Alvarado (ES), Tobias Gambaro (AT), O-Young Kwon (DE), Cinzia Laliscia (IT)



Outdoor area of the house of Pyrsinellas – Municipal Regional Theater

Duration: 23.9 – 30.11

“Je est une autre”, Foteini Zaglara

A collection of works of self-portraits, which started in 2018 and continues. Each anthropocentric photograph tells a story, revealing the different aspects of the personality, the subjective identity of the individual.

The idea of the project is identified with the syntactic paradox of Rimbaud’s famous phrase, “Je est une autre” (= I am another), as through introspection we manage to “objectify” ourselves, experiencing our “being” as something cut off from us. The process of placing ourselves in the history and identity of another personality (“persona”) is exciting and at the same time revealing, as each personality acquires its own entity, without necessarily being identified with elements of the artist’s own personality.

The intense presence of the directing element combined with the use of creative props, make up, and vintage clothing, enhance the narrative and drama of the images.

“Jellyfish, The Spring Journal”, Alexandros Zafeiridis

Δέδυκε µὲν ἀ σελάννα

καὶ Πληΐαδες, µέσαι δέ

νύκτες, πάρα δ’ ἔρχετ’ ὤρα,

ἔγω δὲ µόνα κατεύδω.

(Σαπφω, Δέδυκε µὲν ἀ Σελάννα)

The moon and the Pleiades have set,

it is the middle of the night,

time is passing,

but I lay down alone.

(Sappho, Midnight Poem)


The Moon and the Pleiades2 star cluster, set/vanish at midnight during a specific time period; spring, signifying the passing of wintertime and the beginning of time/beauty3.

A series of images created during a 15-month stay (2019-2020) on the island of Lesvos, Greece, and specifically in the small village of Antissa, just 9 km away from Eressos, home of the lyric poet Sappho. The poet’s inspiration was imminent throughout: the isolated, wild, and “mooncrazed” land- and sea-scapes. Spring time elevates those characteristics; the moon setting the pace. Wordless conversations, similar to those of princess Kaguya+ start to form, as a means of coping and communication. “Talks” about what has been lost, in order to maintain what is still left.


“It’s Spring,


My time/beauty/youth goes by,

And I sleep alone”


1Jellyfish: From the Japanese 海月, meaning sea moon.

2Pleiades: from Ancient Greek, derives from plein (“to sail”) because of the cluster’s importance in signifying the sailing

season. Also known as The Seven Sisters open star cluster.

3Time: In ancient Greek the meaning of time could be expressed with the word χρόνος, meaning the objective concept of time, and the word ώρα, pertaining to a specific time period during which something is at its “best”, and therefore can be called ωραιο=beautiful; thus, joining the concept of beauty/youth and time.

+Princess Kaguya: princess from the Moon who is discovered as a baby inside of a glowing bamboo plant. Her beauty attracts five suitors, whom she turns away by challenging them each with an impossible task. She later attracts the affection of the Emperor of Japan. During one of her many conversations with the moon, her celestial origin is revealed, and she is supposed to forget all that has happened on Earth and return to the Moon.

“The fertile void”, Vasilis Ntaopoulos

In Gestalt therapy, the term “fertile void” describes the point zero: an intermediate point of balance and homeostasis, a state full of possibilities. A condition of “creative indifference” located right between two poles. With the homonymous photographic series, I propose a dialogue of images for the corresponding intermediate spaces between existential opposites intertwined with the human condition. I use seemingly unexpressed and often “indifferent” images, and I attempt a photographic discussion of the process. A discussion of the fluid process between existential classifications which, even though they seem to have the form of opposition (life – death, loneliness – belonging, freedom – limitation, meaning – futility), at the same time they constitute a constant call for synthesis and completion.

* “The fertile void” project, is at the moment a work in progress

“Socratus street”, George Skouloudis

Socratus Street is a photography project that started in 2019 and continues to this day. It is essentially the “mapping” of Socratus Street in the center of Athens, a street with an area of less than one kilometer, one straight line, divided into sections by groups with different characteristics and purposes. Once a great commercial street of the 60s, today it is experienced as a tourist dystopia, where drug trade, prostitution, cheap immigrant hotels, religious organizations, the Omonoia police station, the Romantzo club and also every type of small shop, make up the landscape of a heterogeneous but strictly delimited microcosm.

Just 50 meters from the department stores of the city center, Socratus Street has all the characteristics of a modern urban ghetto, not limited by concrete walls and barbed wire fences, but by the name of each street. Thus, on one street we may see billboards, malls, people with branded shopping bags, and just at the next turn, another world, often on the edge of survival, easy for all kinds of exploitation.

This vast ungraded social and cultural contrast seems to go unnoticed by the average citizen of the city. Socratus is there to be crossed, but not to be seen, she is silenced or acts as a counterexample to all that we should avoid.

Photography often approaches similar subjects with the expectation that by showing the rawness of the situations, it will raise awareness and highlight a problem that desperately needs a solution. In my approach, Socratus has the position of the most interesting street in the city, with people who are special but also fragile, victims of a series of situations and choices that keep them captive to this street.

“Internal Cartεpostalε”, Ariadne Fytopoulou

“Internal Cartεpostalε” is a quarantine, self-portrait project- in progress, about testing yourself in weird situations and learning how to use your weapons. Confined within four walls. That feeling of being trapped – that you can’t escape. You don’t have to be creative and happy – you may accept the reality and just stay strong, positive and in solidarity with each other. And most importantly, never forget the voice, the taste, the sound, the smell and the touch of all the beauties in your life -a reminder to reevaluate the necessity of realizing what we do have in our lives. And to remember that some aspects of happiness are a choice. Αt the end of the lockdown the project include some portraits of other people always in the same style.

“Where Fireflies Unfold” , Oskar Alvarado

Deleitosa is my village. It is located in the province of Cáceres, in the region of Extremadura in Spain. Here my parents, grandparents, great grandparents and other ancestors were born, going back through centuries of family genealogy. Deleitosa was the village that Eugene Smith chose to realize in his photographic essay “Spanish Village” that was published in the American magazine Life on April 9, 1951.

Far from showing the perceptible appearance of Deleitosa or some of the visual references linked to what was a photographic icon of the social and economic backwardness in Spanish rural society, my gaze has some subjective nuances linked to a series of experiences, places and personal memories. Reminiscences that have endured as apparitions in my memory. Images that intermingle episodes that float in my imaginary with the new realities that coexist in the village.

There is an emotional need to reflect on the territory of which we are part. To explore our identity in the echo of the places that still speak to us, or in the absence-presence of the people and beings that inhabit them. To form a visual interpretation that evokes the mystery that manifests itself in everyday rhythms, in the poetic condition that underlies the strange.

“Distant Views – Still Lives”, Tobias Gambaro

The greatest revelation is silence, wrote the Chinese philosopher Lao Tzu in the 6th century BC.

With silence, you can see small things, see seemingly inconspicuous things, very big. With stillness and distance, the overlooked transforms itself, the existing concretizes itself through the abstraction in itself. In seeming emptiness, a stillness is visualized, the photographic view is devoted to the whole, the detail, the in-between, to dissolve, to condense, to arrange without hierarchizing

The world shows the patterns it contains, forms find their analogies, associations tell stories. Foils, ruffled by the wind, appear as ascending cranes, circus tents form up into red peaks in a snowy landscape. A fish that, enthusiastic about its element, glows brightly through the heights of the deep sea, and withered but delicate blossoms that rise on wintery overgrown trees, the crowns of which may not break under the weight of the white.

The renegotiation of closeness as a conscious act of not overcoming distance thus reveals itself as a gesture of seeing and making visible.

‘If you keep your distance, you have not necessarily moved away.’ (Edith Linvers)

“Ukraine Trauma”, O-Young Kwon

War destroys communities and families and disrupts the development of the social and economic fabric of nations. The effects of war include long-term physical and psychological harm to children and adults, fighters and non-combatants, but other consequences, besides death, are not well documented.

The struggle of war is a conflict many people have to bear everyday. In Ukraine millions of people flee from the war zones and are internally or external displaced. Many of them experience physical harm, which can be costly to their lives, but feel as though their physical health is much more important than their mental health, so only a few take it seriously and seek professional help.

Director Dr. Mishyev and his team of the Psychiatric Hospital in Kyiv observe that the war certainly exacerbate or even reactivate existing mental illnesses, articulating in much severe symptoms of nightmares, insomnia, depression, anxiety and paranoia and will continuously affect the lives of many post-war.

“Finalmente posso andare”, Cinzia Laliscia

Finalmente posso andare recounts my coexistence with the death of my grandmother Marisa and my aunt Luciana. It all happened during the first lockdown (due to Covid19) in Italy in 2020; the virus had nothing to do with their passing but it became the obstacle between me and my family. I lost them but I couldn’t feel what was happening. I was locked in my house and two parts of me had just left. I started looking for a way to express this emptiness for it was the only thing I could do to process what I was living. My photographic archive was so important during that period: I started looking for signs in the places I’ve been and in the people around me. I live in a rural place and nature is one of the keys I found to put my emotions in images. I needed to give them the farewell they deserved.



Group exhibition of 20 photographic clubs of “ENTEFXIS”


Bleach kollektiv for visual arts – Athens

Ar8 -Agrinio

METApolis -Athens

Photoerevnites – Athens

art.A’s PhotoGroup FOA

The egg 5+1 clicks together – Igoumenitsa

”F” Thessaloniki

”Fotoporoi” Thessaloniki

FOSPI – Photoclub Ioannina

Photorasi – Ioannina

Kavala Photo Club

Corinthian Photography Club

Paros Photo Club

A.S.T.O. – we communicate

Photography club of Patras ”IDIFOS”

Photography Club of Filippiada Kadrw

Lefki The Photography and Film Club of Chania

Shashin Lovers – Athens

Fwtoart –  Photography group of Arta

Photography Lab PhotoProletarii – Athens



21th February 182 (next to PPC)
Duration: 23.9 – 31.10

Thu. – Sun.: 17:00 – 21:00

Student Awards 2023


Exhibition of the 4 best portfolios of the competition Photometria Student Awards 2023,

judged by Panagiotis Papoutsis!


Curation by Ioulia Ladogianni and Tasos Papadopoulos!


“Seeking” – Artemis Giannopoulou, “Today, Tomorrow, and the Tales from the Wind” – Tianjun Li, “Fallen Memories” – Maria Toultsinaki,  “Feelings” – Nikoleta Prampromi



CompArt Factory (Aravantinou 6)

Duration: 23.9 – 31.10

“Seeking”, Artemis Giannopoulou

The Seeking photograph series (2022 – 2023) is inspired from a personal view by Chopin’s Prelude Op. 28 No. 4 in E minor. With this nostalgic musicality as an artistic starting point, the photographs of Seeking are mainly focused on the idea I personally have of the concept of reminiscences, of scattered memories. The familiar passing into the realm of alienation. The establishment of an imaginary place, in the sense of the ghost, a heterotopia, according to Michel Foucault, that of the unfamiliar, where body and nature come together to express this feeling. The figure is missing some part of the body, and when it is not missing, as when it lies down, it appears almost dreamlike. Through this series I have attempted to interpret my interest of the moments that always escape all at once, the always fleeting moment of a fixed destination, the loss of the object of desire, that is, of a lost life, of childhood, whose innocence is still an absence, and the nostalgia this situation evokes altogether. To seek, to search for something, as it is to desire, indicates a lack.


“Today, Tomorrow, and the Tales from the Wind”, Tianjun Li

“Today, Tomorrow, and the Tales from the Wind” is an ongoing Photography-Sound project that explores the interplay between nature and humanity in the Anthropocene era. This project centers on the artistic exploration of diverse regions, encompassing natural landscapes, human activities, regional folklore, and cultural heritages.

Having grown up in a residential area on the outskirts of a bustling southern Chinese city, I developed a profound love for nature that was nurtured by the enchanting woods surrounding my childhood home. These woods, once majestic and serene, witnessed the decay of the neighborhood as it succumbed to the relentless march of factories and real estate developments. The loss I experienced upon my return to the area after the pandemic was a catalyst for my exploration of grief and its complex relationship with the world we inhabit.

A relocation to Finland provided a contrasting perspective, as I marveled at the abundance of urban forests, among the finest in the world. However, this newfound admiration was tinged with a sobering realization that even these forested realms were not immune to the encroachments of urban planning. It was through engaging with passionate activists mourning the loss of forests and nature that I became acutely aware of the urgent need to confront the challenges we face. Their anguish served as a poignant reminder of the interconnectedness of environmental decline and the disappearance of nature, prompting me to delve deeper into the perils of our current epoch, the Anthropocene.

In the creation of this project, I strive to capture and express the multifaceted emotions associated with grief in the face of ecological degradation. The series of photographs is re-composed by overlapping and double-exposing the photos documented during sensory field trips and within the realm of everyday life in Finland and China as natural and artificial visual metaphors intertwine, re-imagining a delicate, fable-like utopia based on current living realities.

“Fallen Memories”, Maria Toultsinaki

A photograph can capture a moment and keep it unchanged through the time limits. It may reform the picture to an alive memory that can be kept for years into our mind. The paper, on the other hand, is perishable. It can be burned or burst and so the picture that is presented on it may get lost or destroyed. In this series I used a mixed technique with digital photographs and paper that I personally destroyed with my own hands, in order to create a liminal space between corrosion and incorruptibility of human memories.

“Feelings”, Nikoleta Prampromi

Living in an era where “seeming” plays a greater role than “being,” external appearance plays a significant role in how a person is perceived, from the workplace to society and even in personal life. Through my work, I want to show that people are not always what they appear to be at first glance; they may seem happy and flourishing on the outside but be withered inside. However, many times, the exterior might indeed align with our inner selves. A woman who is “burnt out” both inside and out, a woman who mourns as deeply in her black attire as she does within her full of sorrow. These photographs aim to lean towards exaggeration, not depicting the everyday and realistic, possibly involving elements of painting with photography. Everything in this work makes sense, from the colors of the flowers, their number, and even their very existence. I chose to combine photography with graphic design because I work as a graphic designer and study photography; both are part of my life and daily routine. I specifically chose flowers as they relate to my parallel studies in agricultural science at the University of Thessaloniki and would be a suitable way to express my emotions. For this project, I drew inspiration from a foreign photographer who captures herself without ever revealing her face, using mirrors, flowers, candles, furniture, etc., to hide the features of her face or body and create symmetries with her body. I attempted to do something similar. In all the photographs, it is me without ever showing my face, using two mirrors, one large and one smaller, and adding flowers that appear to be unreal.

© Photometria International Photography Festival