It took me over a year of collecting pieces from different countries that I’ve visited to come to the realization that no matter the place, I will always find myself drawn to serene and solitary scapes.
I’m continuously on the move to catch up with the frenetic rhythms of reality; yet again, I remain static. I’m constantly in search of an escape, trying to free myself from holding on to the past, to an idea, a person or a thought and yet I’m constrained, bound.
These images are a mirror of myself, not a window to the world outside. These solitary subjects are nothing but self-portraits, scattered glimmers of my soul; a wry representation of the weight that I carry, the anchor that holds me down.
THIS MUST BE THE PLACE
"This Must Be the Place" is a critical and curious response to being submerged in a new culture, an attempt to find my place in new surroundings. Recently having moved to Boston, I was struck by the obvious differences between my homeland and the U.S. Exploring the area that I now call home, walking around the neighborhood and the diverse cityscapes, I turn my attention to matters overlooked to me, fragments of working class suburbia that would seem normal to Americans but seem odd through my eyes, like empty driveways and cluttered backyards.
Through these images I address longing; I'm looking in, peeking out to the other side, dreaming of the possible future. There is always an element that leads you in; a hope that dreams will be fulfilled, that stability will prevail, that this sense of loneliness and seclusion will fade away.
“Peaceful” and “silent” are not words that come to mind when describing weapons. When seen as antiques, they camouflage their initial purpose. The viewer, allured and captivated, tends to overlook and forget the past, mesmerized by their fine craftsmanship, their artistry. Yet, just beneath the surface, their artistic presence is haunted by a past that cannot be changed.
The memory cannot be purified from the suffering and pain the weapons inflict. The history of violence cannot be erased by transforming weapons into inert objects of beauty or works of art because -although not visible- the blood, the mud, the fear and desperation will always be there.
The weapons were photographed on carpets, tablecloths, pillows and chairs found in the collectors’ living environment.
Yorgos Efthymiadis is a fine art and architectural photographer from Greece who resides in Somerville, MA. He has always been drawn to buildings, their shapes, their forms and materials, always questioning the perspective and viewpoints. Using light to illuminate their unique character, he often wonders how architects imagined their constructions and frequently reduces architecture to pure geometry.
He has exhibited in various locations, including the Danforth Museum (New England Photography Biennial 2013) and was a semi-finalist at the Adobe Design Achievement Awards for two consecutive years. In addition, his work was included in New York Photo Festival "PhotoWorld 2014" and The Fence at Photoville (Boston). Finally. his projects were featured on Photographer's Forum, Lensculture, Lenscratch and PDN.
Yorgos is represented by Gallery Kayafas, 450 Harrison Avenue #37, Boston.
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