Lefteyer

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.

Lefteyer

Crowd-Innovation & Sharing

Pingyao International Photography Festival is currently taking place in the Ancient City of Pingyao, from Sept 19 to 25.
Launched in 2001, this year’s event marks the 18th anniversary of the annual festival, which has become an essential event for photographers from around the world.
More than 40,000 photographers from over 100 countries and regions have displayed some 240,000 photos over the years, attracting about 5 million visitors.

This year’s festival has a theme of crowd-innovation and shared ideas, with 15,592 photographic works by 3,223 domestic photographers and 262 photographers and artists from 35 countries and regions –– demonstrating the event’s diversity and global appeal.
This year’s week-long event is divided into six parts, including exhibitions, fairs and forums. One of the highlights is a multimedia exhibition of photographic works, offering visitors an integrated experience of sound, video and still images –– the first time that the festival has held such an event.
In addition, a gallery expo is open at this year’s event for collectors to buy artistic works, further adding value to the festival’s brand.

Also, Pingyao lacquer ware culture and arts expo and a trade fair for cultural creative products is open to visitors attending the festival.