-Hello Panos + Mary, would you like to tell us some things for you besides photography?
Hi, and thank you for the invitation.
We are an artist duo and a couple in life. Panos is a physicist with a Ph.D. in Environmental Engineering, and Mary is an electrical engineer with a M.A. in Graphic Arts, so we both received formal education in hard sciences. This fact affected the way we see and understand the world. We live in Heraklion, Crete, and we have two cats, Sahara and Uma.
-I discovered your outstanding work almost two years ago through Instagram, and it took me a while to understand that you are a photographic duo. I would like to know when you started working together and how it is to photograph with another person.
We have been working together since 2009. The collaboration came effortlessly. It felt easy, as we are compatible personalities with similar interests and backgrounds. Additionally, we matured photographically together, as we were exposed to the same photographic stimuli and experiences.
We photograph, edit and sequence together. Shooting together helps, as we can combine skills and take care of details that might not be noticed by just one. Mary does the development, and Panos does the printing. We keep these two tasks separate to achieve the homogeneity of our projects.
- In your project “Cornucopia”, you research the Lassithi of Creta island plateau's elusive identity. Portraits and landscapes share a dreamy poetic mood, creating a sense of mystery and making viewers want to know more. Would you like to tell us a few words about that project?
“Cornucopia” is a project about the Lassithi plateau and is the second project shot there. The first one was black and white, titled “Gardens of Oblivion”. “Cornucopia” is the outcome of our fixation on this place and a personal investigation of what makes the Lassithi plateau unique.
“Cornucopia” consists of three parts that may not be obvious to the viewer. The introduction is dominated by the mountains and serves as a small tribute to the forces that shaped this land. Second part is related to the mythological aspect of this place. In the third part, we draw from the fall of man to make an allusive reference to the severe depopulation problem of the plateau.
- With your project “Mother Motif” we see a sensitive approach related to the concept of family. You chose to represent the relationships that are developing between mother-daughter with colorful fabrics and plastic flowers. How did you select these two elements? And how did you come up with that title?
Mother motif is the prototype that through repetition creates the pattern. The title is our reference to the learned maternal love transcending women generations.
The flowers and the fabrics are two components of this project. The third one is the changing pattern, which represent the learned behaviors, that pass from one generation to the next. The flowers are related to the mother's fascination for them as ornamental elements. The fabrics relate to a subtitle, yet a meaningful, story of affection and dedication. Years ago, when Mary was studying to participate in the university entrance exams -a painstaking process for anyone aiming for one of the top-class universities- her mother wanted to support and encourage her. While Mary was studying, she was sitting next to her, silently keeping her company, while she was using garments taken from old dresses, turning them into aprons. At the same time, these aprons serve our project as a manifestation of maternal love and by referencing the concept of identity.
- In “Second Chance” is a project about the Second Chance School of Mytilene. How did you come to the idea of approaching the people there?
We knew there was a school for adults in Mytilene (at that time, we were living on Lesvos island). Mary is a high school teacher, so it was relatively easy for us to approach the school principal and discuss the possibility of working on a project with portraits of the Second Chance School students and teachers.
During this project, we met remarkable men and women who were striving for a better future, and we tried to record their stories and efforts through a more personal relationship.
-I noticed that your photobooks are self-published. How difficult or challenging is that?
Publishing a photobook is a difficult task requiring a lot of work, time, and money. For us, the production our own photobook is sometimes the way to complete a project.
Self-published photo books -quite often- are beautiful objects, and the making of one can be a creative experience. One has to decide the style and the design that suits the project and then struggle with the reality of what actually can be done. Overall, producing a photobook is a balancing act that also involves compromise.
-Which are your favorite photobooks and why?
We love photobooks! We have a personal collection and so many favorite photobooks. Some of them are:
“Ein-heit” by Michael Schmidt. We appreciate it for the direct plain, and to the point approach.
“Redheaded Peckerwood” by Christian Patterson. Phenomenal story building and diversity of practices.
“Sleeping by the Mississippi” by Alec Soth for the overall feeling and unsurpassed narrative.
“Americans Parade” by George Georgiou. Beautiful images, solid execution, and an amazing book design.
“Jasper” by Matthew Genitempo. Atmospheric and beautifully crafted poetic approach.
“Gasoline” by David Campany. Love the concept and the execution. Examplery use of newspapers archives.
“The White Sky” by Mimi Plumb for the beautiful narrative and the masterful execution.
“Moises” by Mariela Sancari. Unique book design that really nails the concept.
- What would you advise a young photographer who wants to start a photo project?
Be sure that you choose a subject you are genuinely interested in and that you have access to it. Start shooting and investigating at the same time what has been done by others. Use this knowledge to decide what ideas and approaches you can use or avoid in order to make something new. Don’t be afraid to reject pictures, be relentless.
⁃ Would you like to share with us what comes next? An upcoming exhibition or a new project?
We have been working on “Inherently Unpredictable and Reassuringly Expectable” for the last few years, but we do have some new project ideas to explore.