Artist statement

Photography represents for me a highly creative, never-ending mind game, where novelties are created under flexible rules and flexible objectives. Success or failure within that context is less important than the process itself. On the whole, I consider art making an expression of self-definition, self-fulfillment and freedom to play.

Although creation is a process in flux, the core drivers of my work are the ‘anticipation of a discovery’ and the ‘need for experimental versioning’. Through an urge for discovery, I have adopted modes of working from that of a flâneur to that of a precautions retoucheur, doing everything in postproduction. ‘Experimental versioning’ is indeed one of the reasons I became an artist. Within this realm, I am allowed to create art, pose peaceful objections to ideas, master narratives, vernacular iconography and position myself in the spatiotemporal coincidence of the here, the now, the future and the everlasting.

I currently work in digital, however the traditions of fine art b/w and color analog photography still inform my practice. My portfolios Seafront Views, Specimens of American Suburbia No Place Architecture, Unmanned and Inanimate and World of Immaterial Objects, I favor finding my subjects in the immediate environment, as opposed to constructing a reality in the studio. Residing in different countries and taking pleasure from wandering suburban areas are the reasons for developing a strong ‘sense of place’ and for questioning it though my creative processes. In Specimens of American Suburbia, which delves with Place Identity and Photographic Representation, I focus on suburban places and architectural structures, which I encounter by accident. As a matter of fact, I never plan, or hardly ever go back to the same place for a retake.

While shooting in Greece, the US, the UAE, France, or elsewhere, I leave out information that can reveal the place’s origin. I intend to show that these areas can exist ‘anywhere and nowhere’. Under this condition, their identity becomes fluid, as they are no longer attached to a map, but inhabit a non-geographically designated place. An ‘anonymous’ place designated by the use of the medium, in the context of post- New Topographics landscape photography. The aggregation of multiple out-of-context places, however, in a portfolio elevates this anywhere/nowhere approach into ‘somewhere’. This ‘somewhere’ is neither urban or suburban nor real or unreal. It is a place, where skies are always blue, where one can find many colorful architectural curiosities. These, in turn, hail the viewer to visually and mentally interact with the work and alter the places into what I like to call ‘adversely possessed hyp-urbias’.

There are no people appearing in them, but somehow they do through the traces they leave behind. To push the envelope further on this, by not capturing people I don’t mean to create a deadpan view of the world. On the contrary, I intensify human presence, as people subliminally appear not only through remnant material objects, but also through the coincidence of my encounter with this or that place, my will-to-create a version of what I saw, the place itself, and the historical context about the place.

I continue capturing dystopian landscapes; that is ambivalent in terms of place identity and photographic representation. I am looking to elaborate on the notions of photography and place identity by tracing their relation to current western trends of artistic iconography, human geography, psychology, and architecture.

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Photography

A World of Immaterial Objects

They are standing there flashily saturated underneath the mid-day sun, mute, unmanned, and inanimate. They pick me because I am very curious to see what their immaterial version would look like and because I am fascinated by the ontological, the artistic, and the semantic discourses surrounding their existence;

Unmanned and Inaminate

I am wandering around urban spaces holding my camera seeing and capturing unmanned and inanimate places and objects.y hypothesis is that although these constructions exist in public spaces, they normally go unnoticed. I shoot these to render them worth seeing proposing a new version of them.

About me

Yiannis Galanopoulos

Visual Artist

He has participated in numerous solo and group international art exhibitions in the UAE, Europe, the USA, Australia, China and Japan. His work has been acquired by private and public collections. He has a BFA in Photography and Multimedia, a Master of Arts degree in Humanities and a Master of Fine Arts degree in Visual Studies. He is a PhD Candidate at the Royal Melbourne Institute Of Technology in Australia and holds an assistant professor’s position at Zayed University Abu Dhabi.

“It is an illusion that photos are made with the camera… they are made with the eye, heart and head.”

Henri Cartier-Bresson Photographer

My portfolios Seafront Views, Specimens of American Suburbia No Place Architecture, Unmanned and Inanimate and World of Immaterial Objects, I favor finding my subjects in the immediate environment, as opposed to constructing a reality in the studio. Residing in different countries and taking pleasure from wandering suburban areas are the reasons for developing a strong ‘sense of place’ and for questioning it though my creative processes.

Yiannis Galanopoulos Assistant professor at Zayed University Abu Dhabi

Graphics

Cover Girl

There are more than 130 woman magazines in circulation worldwide. Most of them are featuring portraits of healthy (mostly young), beautiful and charismatic females advertising commercial products, services, know-how and live-how ideals. Undoubtedly, ever since the invention of the daguerreotype, what makes a successfully marketable portrait/cover is the physiognomic beauty and the emissive femininity of the featured cover girls. So inextricably linked are the face on the cover with the commercial output of a magazine that in colloquial language, we affluently use the term: “The Face of this or that magazine”

Portfolios

Latest News

Seafront Views

The internal need to explore our natural environment, interdependent with the instinct for survival, searches for a secure location on the trajectory that connects the eye with the point of its visual saturation. This is how limits are defined…..A need, driven by the desire for knowledge or the thirst for conquest, depending on the degree we sense it, can trigger the renegotiation of our relationship with time, space and man.

Meeting Ends

Meeting Ends is an aerial prospect depicting man-made and natural forms. These are tangled by human determinism to exploit, map and establish ownership over planet earth. The collection of works show an equally positive and negative space, where human intervention on natural recourses and desire for order meet resistance by cosmic morphology and geometry.

The new (ab)normal

Views from Ex-Patria concerns global trends of migration and border politics. I have been an expatriate since 1998.

Interested In My Work?

Collaborations with both non-profit and commercial venues are welcomed. Please feel free to contact me, if I can contribute in any way in your project, whether that is exhibition, publication, work presentation or gallery talk.Professional, student, and amateur artists are encouraged to establish communication with me, asking support (ie editing, critique) for the realization of their individual projects.