Photographer statement: DD/MM/YYYY is a series of personal photographic explorations of place and presence. It explores time and what remains of it as it flows between us. In a way, it is an isolation in a small universe that I am trying to create and within which I am trying to exist comfortably. What I discover (or find) in this series are human forms and traces of nature, bombarded by fragments of memory that I collect to create this new passage, which may be a new isolation or a way out. At the same time, I am attempting to remain consciously present, aware, always in the way that every new answer leads to a new question, starting a new circle while ending the previous one. As I look back on this project’s moments of creation, I observe that there is always something more to unfold: a reminder of what is actually important without seeming important; a fleeting glimpse of the everyday, magical, yet trivial events that life provides.

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Photographer statement: They are fully inserted in any urban context, planted in the ground. Most of us don't even notice their presence, those tall metal constructions that illuminate at night but remain awake during the day, watching over the whole territory — I see this as a rare case where aesthetics exceeds the utility.

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Photographer statement: I live in the southern suburbs of Athens, Greece. Inhabited continuously since the ancient times, this is a place characterized by material abundance and laid-back, luxurious lifestyle. At the same time, high fences, barbed wires and surveillance cameras turn the houses into strongholds or border barricades and the streets into some kind of urban “no-man’s land”. This setting poses questions about the role of my own domestic comfort zone and whether protection and restriction are actually the two sides of the exact same coin. By documenting the paradoxical elements that surround my everyday life, I try to make sense of myself and address my own existential questions, however it still remains vague and unanswered to me whether the outside world is paradoxical or I am the paradox within it. Seen together, these elements form heterotopias that are extracted from their surroundings, offer a new viewpoint and make a novel comment upon the existing references. Having the documentary genre as a starting point, the reality that I present is, therefore, a distilled one. The Voice of the Cicada is a visual testimony of my endeavor to interpret, transform and re-create the environment and the people that surround me, leading to an eventual understanding and definition my own self and my place into the world. My heroes, as alternate versions of myself, dwell in affluence, within their dazzling, colorful bubbles. Both watching and observing but also being watched, they look like fireflies in a sealed jar filled with sugar water.

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Photographer statement: In this work, I study the material and, consequently, the spiritual decadence of the city. I push myself deep into the body of the city, in order to achieve the mental state that will bring me even closer to this decadence. I wonder around the paths of the multiple words out there. I discuss and experiment with extreme situations; however, I come across bright paths there. Conversely, in the so-called average spots, I see the really miserable picture surrounding us. The predominant products around us are synthetic. Tires, plastic toys, and lifeless horses. I walk, blind, between scrap metal and shattered walls. We light fires using a beautiful wrapping, a patched civilization, we are experiencing a spectacular nightmare. The city does not exist.

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Photographer statement: In this beautiful poem by C.P. Cavafy, we can understand the poet’s emotional state in that period. He is overcome by pessimism and sadness. He is trapped into the city (polis) and desires to escape the unpleasant reality. In the series of images that I present, I tried to understand the similarities with my own emotional state, during this period of confinement, due to the pandemic. The City | Constantine P. Cavafy You said: “I’ll go to another country, go to another shore, find another city better than this one. Whatever I try to do is fated to turn out wrong and my heart lies buried like something dead. How long can I let my mind moulder in this place? Wherever I turn, wherever I look, I see the black ruins of my life, here, where I’ve spent so many years, wasted them, destroyed them totally.” You won’t find a new country, won’t find another shore. This city will always pursue you. You’ll walk the same streets, grow old in the same neighborhoods, turn gray in these same houses. You’ll always end up in this city. Don’t hope for things elsewhere: there’s no ship for you, there’s no road. Now that you’ve wasted your life here, in this small corner, you’ve destroyed it everywhere in the world.

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Photographer statement: As a point of departure the phrase 'castle in the clouds' - updated to include the ever expanding cloud in the digital sense. A non-place, unachievable in the framework of time, as Ernst Bloch has described as “wishful thinking without any possibility of completion” The project is a series of images that represent my personal interruptions into various partly completed new-home construction sites. All the aspects are shot on location then digitally rendered, representing not a physical place, but instead a non-place - the potential space sold through the developers language of digitally constructed 2-d images. The potential space always out of reach. 'If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non‐place'

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Photographer statement: I walk through this limited time given to me, named life. And in this transitory period I try to enlighten all my fears, my emotions and desires. My camera travels with me into this symbolic voyage of nocturnal light; from darkness to light and then back again. The photographs: seascapes under the full moon, animals, lonely women and men- form an anecdote diary with spontaneous and accidental images that enable the viewer to travel smoothly and secretly into their own memories. The outer reality is transformed into a stream of dislocated and ambiguous images. I try to re-mythologize and re-invent myself. Intuition is my only guide and the traces are always to be found within me, in my early memories, my dreams and nightmares. Text by Vanessa Winship : She told me she was the daughter of a farmer from an Island I visited a long time ago. Sometimes meetings are short, intense, sometimes they last a lifetime. What is it to be invited into a diary, to be offered a key to unlock what lies within? Long memories triggered by each lived moment, if shared, to know and understand that we are not alone. Sometimes we know where and when. Her silent footsteps tread upon a shabby red carpet. She scans what lies before her, stopping just long enough to make a single frame and move on. With tenderness she looks up to take in a string of fragile paper lanterns along a corridor we don't know where it’s leading. Always walking. What is it to know joy on seeing the free movement of the figure as it glides so effortlessly through water, sound muted by its vast expanse that surrounds and supports it? Only once does the figure come up for air. What is it to appreciate the sensation of a retreating tide? To silently observe a solitary figure who seems feeling and measuring the air. Who is the woman who patiently waits for her to catch up, catch up at the pace of the human heart? Always walking. What is it to feel the sensation of mist as she steps upon the earth so close behind her sheep, or to see her own breath as she moves long a car-less snow-covered road? Along these tracks and pathway there’s always light. Sometimes a flood of artificial light that renders expressionless the figures that move within it. A dog instinctively slips into the shadows. But more often it’s the light cast by the moon, or the light when day becomes night or night day. She follows those figures, first at proximity, and then a little further away, less sure, still she stays, and still she follows. These are moments of a certain kind of solitude that still manage to find a connectedness. Always walking always walking. About the book: A trifold book of three booklets stitched on a concertina cover which allows for the book to be opened out in to one long strip. The format for Traces Within was based on the idea of drifting through memories, the intention was to create a book with no obvious beginning or end and allow the viewer to drift through the photos. Embossed title on cover.Book opens to 21 x 88.8 cm. Printspeed offset paper, 140 gsm for the inner pages and 300 gsm for the cover.Printed on offset Lithoprint by Pureprint printers using vegetable based inks. The photos contained in the three different sections can be viewed alongside each other allowing 2,197 possible combinations of images (thirteen to the 3rd power). Self-published and hand bound by Eva Voutsaki ​Book design by Emily Macaulay Writing by Vanessa Winship

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Photographer statement: "Reality is merely an illusion, albeit a persistent one." - Albert Einstein What is reality? How do we know what is real and what is not? One of the strangest aspects of dreaming is that we are not aware of it while it is happening. Though it is different from reality, they both allow us, as human beings, to express the complexity of emotions. When facing disappointments, we often try to hide negative feelings with things we find pleasing or, at least, familiar. Our egos focus on the narrative of our reality. But when we give in to the story, we fall into a dream-like reality, moving through life as if we are in a dream. This state is unhealthy for us, hindering our growth and journey as human beings. During the COVID-19 lockdown, I felt what many people felt: frustrated and trapped. Without my “story” as a photographer and a traveller, I experienced emotional instability, and I felt lost; I was in a daze. After a while, I began to wonder if that fog was not the true nature of the world when we are not distracted without endless day-to-day activities. Illusion is a photographic series that ponders the nature of reality with the sense of unreal and unstable feelings during the lockdown. It aims to remind us to be mindful of our emotions in reality so that whenever an unforeseen event strikes, our mental well-being will help us cope with it.

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Photographer statement: 2017–18 A backlash on the political and social situation in Austria and Europe—produced between the events of the national holidays and circling around the elections of 2017. Through contextualizing, combining and manipulating these images of different conditions of living, they are developing into new correlations, narrations and both compressed and displaced views on the present age pointing towards a future minted by the yesteryear, strongly bearing those tendencies. Production-related references, color tone and framing are supporting the critical content in a series of three acts. Photography as a medium itself, social conventions and political mechanisms are here both questioned and illustrated.

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Photographer statement: Locations in becoming in which stories unfold, atmospheres and encounters occur that would not be expected in predictable prose of the reality to which they belong. This is what Graziano Panfili photographs, capable author of distilling from contexts apparently attractiveless appeal an unprecedented, latent energy and beauty. Their hidden vitality is captured in fleeting frames that lead back to visual memory images already lived because dreamed, desired, seen in a film or described in a novel. Scenarios are immersed in a familiar context that comes alive with new lights and atmospheres and is populated by creatures out of place, out of time, earthly and alien to time same. And the viewer waits for something to happen, miracle or apocalypse, in the fixity of the shot captured by the flow of life and imagination.

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