Spaces.. Places.. People.. Soul.. Breath.. Light.. Emotions.. Life.. End of Life.
Empty Places explores the relationship of people and the buildings/places that enclose their lives, using as an example places in my life. It is a study in the sense of space as an expanded containment of self.
When thinking of this relationship several issues emerge. Since the human body is the enclosure, the housing of the soul, then buildings by extension of being the houses of humans, become the houses of emotions. Furthermore, I believe that buildings can acquire a "soul", by the mere fact that they are the enclosures and the acting stages of the emotional worlds of the people that live in or pass through them. In addition places can conjure up memories of emotions.
Light in the way it enters and leaves a space is like the breath of that space, so I seek that light and in photographing it I attempt to capture the "essence", the "soul" of those places.
These images represent private and public places intimately familiar to me, that I photographed at a stage when I knew that they were about to change forever, or that I wouldn't have access to anymore. They form a visual personal diary. By capturing the light of these places I try to preserve stages in my life, two dimensional records of the feeling of being there.
While the personal references should be irrelevant for the viewer's consideration of this work, I hope that the viewer will develop a personal feel for the image, an engagement into the atmosphere of the photograph, a response to the usually fleeting light. And it is the image and its light that will function in the same way as a fragrance or a song do, both having the capacity to generate different feelings and different memories to different people.
Lena Tsakmaki is interested in what the mind sees and feels and finds an expression of that in night or low light interior situations. There, not everything is revealed at once and the imagination finds space to roam. Rather than illuminate and reveal, light seems to caress the surfaces. The outcome is not what is visible by the human eye, in its limited capacity, but an alchemy performed by time, the night and the photographic lens.
Her images have been exhibited in the US and Europe.
These images have been captured using a 4x5 view camera and black and white film.
They have been printed by the artist in a wet darkroom on fiber based graded gelatin silver paper and have been toned and archivally processed.
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